Scenic Studio – Page 12 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1072 – Helen M. Hamilton, Helen Fling, and Mrs. Helen M. Ackerman – the Final Wife of Mr. P. Dodd Ackerman

P. Dodd Ackerman married for a fourth and final time after Harriet Smith Ackerman’s passing in 1935.

His last wife’s maiden name was Helen M. Hamilton, but she was previously married, and her name was Helen Fling. Fling was an interesting woman, first working as a costumer in the theatre, and later specializing in marionettes and puppet theater; a marked departure from Ackerman’s previous wives and kindred spirit.

I initially had a difficult time tracking down either Helen M. Hamilton or Helen Fling down, until a small bit of information surfaced about her career in a 1956 newspaper article. That year the Fort Myers’ “News-Press” reported, “Mrs. Ackerman was an authority on puppets and puppet theaters. She is an author on several books of the subject” (6 Dec. 1956, page 15).” That was the key that helped me track down Ackerman’s 1937 marriage license and Helen Fling’s marionette books.

Marionette books by Helen Fling. Fling was also known as Helen M. Hamilton, “Nell” M. Hamilton, Helen M. Ackerman and Mrs. P. Dodd Ackerman.

Helen M. Hamilton was born on October 13, 1886 in Ohio. I have located little about her early life or when she entered the theatre. That being said, I did locate a “Miss Helen M. Hamilton” in Zanesville, Ohio who matches the age and theatrical interest. The dates all match up for this young woman who performed in class plays, was known for her soprano voice at musical concerts, and took a trip to visit her sister in California. There were other women known as Helen Hamilton in Zanesville too, muddying the research waters. And on top of everything else, there was also a younger Helen M. Hamilton from Dayton, Ohio; the niece of J. P. Morgan who married Arthur Woods and moved to New York in 1916 (Dayton, Ohio, 24 March 1916, page 13). Except for the age discrepancy, that would have tied up my tale in a neat little bow. Well, historical research is never that easy.

It was not until after Helen M. Hamilton married her first husband and became Helen Fling that I was able to positively identify Ackerman’s final wife in newspapers during the 1920s; at least she made headlines, making the search possible.

In 1937 Philip D. Ackerman married Helen (Hamilton) Fling in New Jersey. I knew little of a “Mr. Fling” until I came across mention of a “Helen Hamilton” in the Fling family tree, posted to ancestry.com. I was actually beginning to wonder if there really was a Mr. Fling, and if Hamilton hadn’t just adopted the “Mrs.” for some social and economic freedom. Here is what I have uncovered…Hamilton married William F. D. Fling (1884-1969) April 26, 1918, but little is known about her first husband, their relationship or later divorce. Everything lines up, except the first name of Nell. The Marriage license lists “Nell” M. Hamilton for the marriage that took place in Queens in 1918, New York. At that time, “Nell” was a nickname for Helen, Ellen, or Eleanor.

Keep in mind that women’s names were very fluid in historical records and their official birth name was not always provided; they were not always the one passing information along. I have noticed that women were often listed by what their husbands called them during a particular period; the husbands were the ones providing information to a census reporter, county official, judge, etc.

If William Fling and Helen “Nell” Hamilton were married in 1918, here is what I discovered about Mr. William F. D. Fling. He was born in Irvington, New York, Nov. 1884, the son of James Libby Fling (1854-1923) and Ella F. D. Drake (1856-1923). One of three sons born to the couple, his brothers were Arthur R. Fling (1892-1941) and Harry Comly Fling (1882-1969). William Fling moved to San Diego, California and passed away there.

In regard to Helen Fling’s work as an author, she wrote four books under the title “Marionette Hobby Craft.” These four volumes were combined into a single work and still available today.

Her four books include:

“Treasure Chest of Marionette Hobby-Craft V I: Showing How You Can Make – Mould – Cast – Paint – Puppet and Marionette Heads”;

“Treasure Chest of Marionette Hobby – Craft V 2: Showing How to Make Marionette Hands-Feet-Legs-Arms and Bodies” ;

“Treasure Chest of Marionette Hobby – Craft V 3: Construction of Control, Stringing and Manipulation of Marionettes”; and

“Treasure Chest of Marionette Hobby-Craft V 4: Production – Stage craft, Direction and Preparation of Marionette Plays, Also One Complete Play.”

Each volume was illustrated by Charles Forbell (1886-1946), a well-known illustrator at the time. Forbell made a name for himself with is comic strip “Naughty Pete that was published in the “New York Herald.” Here is a link to an artistic interpretation of his comic strip: http://painting167.blogspot.com/2009/09/naughty-pete-1913.html

Peter Maresca also includes Forbell in his “Origins of the Sunday Comics” and is well worth the peak, see (https://www.gocomics.com/origins-of-the-sunday-comics/2015/08/21). Forbell also did a number of illustrations for the original “Life” magazine.

Helen Fling’s marionette books were republished in 1973 by Dover; all four volumes combined and marketed under a new title, “Marionettes, How To Make Them Work.” Here is a link to the book: (https://www.bookdepository.com/Marionettes-Helen-Fling/9780486229096). The original publications were also copied and available at Kessinger as rare publications.

The beginning of each marionette book gives a little background about Fling, stating “Helen Fling, author of Marionette Hobby-Craft, is well known for her research, performances, writings and lectures about construction and display of marionettes. She served her apprenticeship under masters of the theatre and puppeteer field and under her magic touch of knowledge these quaint figures with their jointed bodies, grotesque expressions and incredibly human gestures become alive.”

By 1921, Fling was working as a costumer for the Garden Players in Brooklyn, New York. That year she was the costumer for “The Lancashire Lass,” a melodrama performed by the Garden Player of Forest Hills at the Community House (The Chat, Brooklyn, 5 March 1921, page 11). At the time, Fling was thirty-five years old. She was still working for the Garden Players in 1928, alongside Elton Clark, Bill Colton and Fred Kentner. The four were responsible for the show “Correcting History, The Lowdown on Napoleon Just Before He Went to Water Lou,” performed at the “Garden Varieties, ‘28” at the Forest Hills Theatre on Continental Avenue (The Chat, 28 April 1928, page 6). That same year, on May 12, 1928, “The Chat” announced the officers and committee members elected to the Garden Players that year (page 5). Fling and Patsy Renaud were the Garden Players membership committee.

In 1926, Fling traveled with Nancy Humpstone, Frida Scharman and Florence Tompkins. She was forty-years old at the time. They left July 1 to explore the western United States for about three weeks, visiting the Grand Canyon and various other points of interest. They then sailed from San Francisco to Honolulu, returning to Brooklyn by mid-September (Brooklyn Daily Eagle, 16 May 1926, page 28).

At the age of fifty, Helen Fling assisted Miss Grace Wildern, supervisor of the Educational Puppetry Division of the WPA (Brooklyn Daily Eagle, 17 June 1936, page 10). The Works Progress Administration (W.P.A.), later renamed the Works Projects Administration, included a story telling, dramatic and puppetry division in 1935. Founded on May 6, 1935, the WPA was an American New Deal Agency that sought to employ millions of job seekers to complete public works that included the construction of public buildings and roads. The initial appropriation was for 4.9 billion dollars, and between 1935 and 1943 8.5 million individuals were provided with employment, helping America recover during the Great Depression. We are still benefitting from their work today.

Of Helen’s education, all we know is from the 1945 US Federal Census. It listed her degree of education as “college, art academy,” the same as her husband’s at the time. I have yet to track down when or where she attended school for any artistic training. More on Helene and P. Dodd Ackerman’s live after they were wed in tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1071 – “Modern Tendencies in Scenic Vesting of the Theater,” P. Dodd Ackerman, 1921

From “New York Tribune,” 27 March 1921, page 48.

P. Dodd Ackerman’s name appeared in dozens of newspapers across the country in 1921. On March 27, 1921, Ackerman was featured in an article entitled “Modern Tendencies in Scenic Vesting of the Theater” (New York Tribune, 27 March 1921, page 48). The article announced, “‘The day of the trick scenic investiture of plays is over. The futurist, the cubist and other reactionary painters of scenery have had their day, short-lived though it was, and are passing,’ said P. Dodd Ackerman, one of the leading American scenic artists.” The article continued:

“Mr. Ackerman has served a long and interesting apprenticeship in the creation of scenery for plays that have made theatrical history during the last twenty-five years. He was educated in the Georgia School of Technology and had art instruction at the Julian School of Beaux Arts in Paris and in the Huffe School in Munich. Returning to this country he was first associated with the old Lyceum Theater, when Daniel Frohman was its guiding genius. Afterward he was employed at the Empire Theater during the regime of Charles Frohman’s immortal stock company.

“Branching out for himself, he forged to the front and to-day his work is being represented on Broadway by no less than five attractions, among them being ‘The Broken Wing,’ now running at the Forty-eight Street Theater.

Mr. Ackerman as early as 1912 saw the coming of the modern decorative art into the theater of this country, an art that had been in vogue for some time in Germany, Austria, Russia, and to a degree in France and Italy. Feeling that the time would come when scenic painting and theater decorations would respond to the modernist movement and, in order to be fully prepared when this movement came, he went abroad to study.

“The new method, which is a simple one, arrives at an effect that formerly required great quantities of scenery, but which could be done in more artistic and effective way with a few set pieces, some drapes and some new lighting effects,” says Mr. Ackerman.

“In the early days of the theater scenery was given no consideration in the production of plays. The ancient Greeks depended for their background on nothing other than what nature provided. Whether or not the audiences were satisfied with what the author provided through the medium of actors, leaving the scenic environment to be created through suggestion, has not been settled even to this day.

“In the course of time a backdrop, or a curtain, usually of a somber hue, was employed to keep the minds and eyes of the audience from straying further than the limits of the stage before them. From time to time a more adventuresome playwright and produces added a bit of decorative effect, and thus we trace the evolution of stage settings.

“Then came a period when great artists like Raphael, Watteau, Boucher, Servandoni and Stanfield were eager to accept commissions to execute theatrical scenery. Even so great an artist as Alma-Tadema in recent times contributed canvases to the theater that delighted the eye and helped materially in the successful production of plays.

“The interest in scenery became apparent and the desire for absolute fidelity of detail was made a condition precedent to the acceptance of a play by the public. The reaction gave rise to the freak movement in scenic decoration. The aesthetic in art has its admirers where the canvas is small and the galleries are frequented by those who are thoroughly conversant with its aims and are in sympathy with its effects. But not so in the theater, where the audience is a mixed one, recruited from every social stratum.

“The scenic painter’s art is as exact as that of a composer of music. There is harmony of color that is as punctilious as that of music. The jarring note in music offends the ear, the jarring note of color insults the eye. With music the interpreter is secondary to the work of the composer. The scenic artist providing the scenery for a play presents a product that is but a minor detail to the work of the playwright as interpreted by the actor. The scenic artist’s work, however, must lend itself and blend into the effects created by light manipulation, and any scheme of color or form that is not a mirrored reflection of nature falls short of the purpose for which the scenic artist was employed and detracts in consequence from the value of the play to the audience.

“What is the modern tendency in the theater so far as scenery is concerned? To my mind it is toward the modified background. The moment scenery gets beyond a background it becomes scenery, no more, no less – just painted canvas, Yet scenery can be colorful without offending the eye or detracting from the actor in his work in delineating the character he is called upon to play or interpreting the intent of the author by the intonation he gives the lines he is asked to speak.

“As regards the carrying to the extreme the perfection of detail, why not elect the spectator to become a part of the performance by permitting him to use his reasoning process in completing the detail mentally through the germ of suggestion of detail without carrying it out to the extreme? That has been the trouble with our reactionary scenic artists. They have made scenery and color the principle feature of the entertainment, leaving the story of the playwright and the acting as the background. In Europe the suggestion of effect, which is to mind the modern trend, has been held by the great stage directors and dramatists over there as more highly satisfactory and far better than a mass production. This has been created through the use of false prosceniums or, as they are termed in Europe, portals. Through this medium attention is centralized on the artist and not on the scenery.

“Another Modern tendency in the theater has been to delegate to the scenic artist authority to decorate the stage with the essential drapes, rugs, furniture, objects of art and other properties demanded by the play. This will result in a higher degree of the artistic in productions, eliminating the chance of offending those who have good taste.

“Another trend of the times is to improve the lighting of stage productions. Our present methods have made little or no advance from what was obtained when gas was the illuminant in the theater. Our modern footlights, even though electricity is employed, are scarcely one pace forward from what was used in the theaters fifty years ago. It may shock you to known that there is not a perfect theater in America to-day – that is, a theater that gives to such lighting the perfection it derives – and this is because the inadequate and antique appliances to be found therein. The only theaters in New York that in a way approach a proper equipment for lighting are the Booth, Century, New Amsterdam and Metropolitan Opera House. However, the new Sheridan Theater, which is soon to open, will be the first theater in New York where it will be possible to get any light effect desired. The system to be employed is obtained through a switchboard, where the light effects are all arranged beforehand and by merely touching a push button they automatically change as desired and thus colors will melt into each other, creating effects that heretofore have only been seen on the Continent of Europe.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1070 – “Colors Vibrate the Same as Music,” P. Dodd Ackerman, 1921

In the midst of both global and personal strife, P. Dodd Ackerman explored a new stage aesthetic at home and abroad. Newspapers would later report, “Mr. Ackerman, as early as 1912, saw the coming of the modern decorative art into the theater of this country, an art that had been in vogue for some time in Germany, Austria, Russia, and to a degree in France and Italy. Feeling that the time would come when scenic painting and theater decorations would respond to the modernist movement and, in order to be fully prepared when this movement came, he went abroad to study” (New York Tribune, 27 March 1921, page 48).

By 1920 Ackerman remarried and was on a different trajectory with new wife and young son in tow; he was becoming part of a theatre movement.

On May 1, 1921, the “New York Tribune” included an article about color theory for the stage, interviewing P. Dodd Ackerman (page 4).

“Colors Vibrate Same as Music, Designer Says” was the heading for the article.

Here is the article in its entirety:

“P. Dodd Ackerman Explains How Scenic Art is an Accessory to the Drama.

“There have been more radical changes in scenic painting for the stage in the last three years than in fifty years previous,” says P. Dodd Ackerman, who painted and designed scenery for “The Broken Wing,” now running at the Forty-eighth Street Theater.

“Where in the past color was thrown indiscriminantly on canvas and shadow lights were employed to give the outline of figure, all of which seemed to produced the illusion of naturalness, this situation no longer holds. Psychology, that science of mind which but a few years ago was understood by only the elect but to-day is understood by millions, has exerted an influence on the painting of scenery for theatrical use. It has brought about a realization that color affects human beings and synchronizes with human emotions if properly applied, and by this same token can create a disturbing element that makes for discord.

“Colors vibrate the same as music tones. The effect of color on the emotions of an audience is a subject that has long been a problem for serious study by the producer of plays, the costumer and the scenic artist. Why red should be the color to indicate danger or green safety no one knows, but still the fact remains that such is the case. Whether red, with its suggestion of fire, or green, of verdant fields, has anything to do with this still remains a matter of speculation. The emotional vibration sent out by red of the prismic ray is known to scientists to be the most powerful and excitiative, while the blue and violet are the most sedative. Lumière, the greatest of all authorities on color influence, after a series of tests covering many years, described the effects of color as the engine that propelled the various phases of human emotion to a perfect consummation of desired results.

“With the stage production reaching its present state of artistic perfection, the scenic artist can no longer paint his scenery merely to represent the outward appearance of the requirements in the manuscript. He must read the manuscript as carefully as the producer, who determines on his reading whether he is willing to make a presentation of it. The artist must make a serious and analytical study of the script and determine the predominating emotion of each act and choose his color scheme for the scenery in order to attain a perfect synchronization of color and emotion. By this means alone can a happy blending of scenery and dialogue, together with the acting of the company, produce the effect hoped for by the author and the manager to obtain complete success for their efforts.

“Speaking in an elementary way, for the purpose of providing simple experiments of color influence, the reader can easily determine the effect of amber in creating depression. By the use of pink exhilaration is promoted. A room done entirely in green simulates morbidity, while on the other hand blue is soothing. It has been discovered that the deeper and darker the tones of blue used as a decorative color scheme the more soothing and peaceful and cam is the influence on human emotion. Brown is a non-emotional color. It creates a sense of firmness and solidity. These suggestions can be utilized to as good advantage in home decoration as they have been in stage scenery. A sombre setting, with a flash of color, upsets synchronization of emotion, with the color scheme of a setting, just as awkward words clash in a musical score with notes intended to be complementary thereto.

“Lighting is so closely allied with stage settings that if there is not a unity of purpose between the two the audience gets the discord, which in this instance is unpleasing to the eye. In consequence thereof the play fails to satisfy and good acting is curtailed of effect.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1069 – P. Dodd Ackerman and Harriet Mary Smith

P. Dodd Ackerman married his first wife Margaret 1897. He listed May Ackerman as his second wife in 1918. Two years later, the wife that Ackerman listed for the 1920 census was Harriet Mary Smith (1890-1936). It is possible that Miss May Smith was Miss Harriet “Hattie” Mary Smith, but there is a discrepancy in age between the two. May Smith was a school mate of Ackerman’s daughter Emma. Emma was born in 1898. Miss Harriet Smith was born in1890; hardly the “child” that the newspapers during the 1916 scandal. In 1916, Harriet Smith would have been twenty-six years old. Interestingly, both Miss May Smith and Miss Harriet Smith worked as stenographers, but there was still the eight-year age gap between the two. In 1916, May Smith was either seventeen or eighteen years old, with P. Dodd Ackerman aged forty-one.

Harriet Mary Smith was one of two children born to Albion W. (1861-1924) and Anna M Smith (1861-1936). She went by “Hattie” most of her life. The 1910 census listed that the Smiths had been married for 23 years, and their two adult children still living at home. Hattie was 20 yrs. old and her brother Arthur H. was 21 yrs. old.

In 1915, at the age of 25, the New York State census listed Hattie’s occupation as a stenographer, still living with her parents. She was not going by any name other than Harriet or Hattie at the time.

By 1920, Harriet was listed in the US Federal census as 30 years old; Philip was 43. As many women at the time, she ceased working after getting married. Ackerman was the sole breadwinner with “stage designer” listed as his profession in the theatre industry.

They couple celebrated the birth of a son, Philip Dodd Ackerman, Jr. in October 23, 1921. Philip Jr. passed away only two years ago in 2018. The same year that he was born, the elder Ackerman contributed to an interesting exhibit hosted by the N.Y. Drama League. “Brooklyn Life” reported, “An interesting exhibit of stage scene models has been arranged by the New York Drama League to be held from Dec. 5^th to December 10^th at the League headquarters, 29 West 47^th Street. Among the contributors are: Robert Edmond Jones, Norman Geddes, Boris Anisfeldt, Joseph A. Physioc, Sheldon K. Viele, Willy Pogany, Claude Bragdon, John Wenger, Dorothy McDonald, Warren Dahler, Carmine Vitolo, W. Herbert Adams, Lee Lash, P. Dodd Ackerman, Edward H. Ascherman, Novelty Scenic Studio, and others” ( 3 Dec 1921, page 16). By this time newspaper article identified Ackerman as the “famous scenic artist, “that famous master of scenic art,” “master scenic artist” and “scenic genius”. The “Standard Union” added, “The novel ideas as to the lighting, stage setting, etc., which are being used on the stage to-day calls out much originality and individual work and should make the collection by these well-known designers of marked interest” (4 Dec. 1921, page 35).

From “Brooklyn Life,” 4 Dec. 1921, page 35.

This was a turning point for Ackerman. In 1920 On Feb. 29, 1920, Ackerman announced, “Work of the Scenic Artist Has Advanced Materially” (New York Tribune, 29 Feb 1920, page 34). In an interview Ackerman was quoted, “Theatrical managers are now accepting designs from men who do not make the scenery…Ackerman does not believe in this and has come to be one of the pioneers in coming out against the practice. He believes that the man who is the artist, who is practical, who understands stagecraft and has education can do the type of work now required in the theater, although he has been a member of the old school of stage design.” The following year Ackerman was quoted as saying, “The day of the trick scenic investiture of plays is over. The futurist, the cubist and other reactionary painters of scenery have had their day, short-lived though it was, and are passing” (New York Tribune, 27 March 1921, page 48).

He was hanging with a new crowd; no longer part of the Thomas G. Moses and Lemuel L. Graham crowd. During the 1920s, the Ackermans were often in the company of stage stars and Senators. The attended many social gatherings, including the housewarming party for Mr. and Mrs. Alf T. Wilton, the well-known vaudeville representative (The Standard Union, 7 June 1925, page 7).

By 1923, Ackerman was also among an interesting group of studio owners who joined the Scenic Artist’s Union. On July 14, 1923, the “St. Louis Star and Times” reported, “Joseph Urban. Robert Law, P. Dodd Ackerman, Joseph Wickes, Joseph Physioc, Frank Gates, Walter Harvey, Evna Ackerman, Walter Street, William Castle and Edward Morange are among the scenic studio owners recently joining the Scenic Artists’ Union. Robert Edmund Jones, Lee Simonson, Livingston Platt, Norman Bell-Geddes, Cleo Throckmorton and Watson Barratt will join. The action follows the failure of the International Theatrical Association to back up studio owners” (page 4)

By the 1925 NY State Census, Harriet was now listed as “Mary” S. Ackerman, suggesting that Harriet also went by her middle name, with the “S” signifying her maiden name of Smith. Most often, however, Harriet went by “Mrs. P. Dodd Ackerman.”

The 1930 US Census listed the couple living at 20 Circle Drive in North Hempstead, New York, with Harriet’s mother, Anna Smith” and their nine-years-old son Philip Jr.

Harriet passed away on Aug. 1, 1935, at the age of 45. I have been unable to uncover any information about the cause or circumstances. What makes this confusing is that another Harriet Ackerman, born in 1893, who died in 1936 was buried on Nov. 13, 1936 in Green-Wood cemetery

To be continued…

Tales from a Scenic Artist and Scholar. Part 1068 – P. Dodd Ackerman, Margaret Meyer Ackerman and Miss Smith

In 1908 P. Dodd Ackerman delivered scenery for the musical farce “Too Many Wives.” The show featured Joe Morris and his company, with Ackerman designing and painting the settings at his Bushwick Avenue studio in Brooklyn. The play was later turned into a movie by 1937. I chuckled when I read the title of the show, as it foreshadowed the next decade for Ackerman. Ackerman’s scenic success was not necessarily reflective of his marital status; he would list three different wives by 1920. Ackerman seemed to always be in the right place at the right time for scenic work; just not with women.

Photo from the 1937 film “Too Many Wives.”

On July 16, 1897, P. Dodd Ackerman married Marguerite “Margaret” Meyer in Manhattan, New York. The couple celebrated the birth of one daughter in 1899, Emma “Emmie” Bella Ackerman. At the time, the small family was living in Brooklyn, New York. However, the marriage was not meant to last. Although, the couple was still listed as living together in 1915, their marriage was on the rocks. In 1915 their daughter also graduated and began a life of her own. I have to wonder if the first Mrs. Ackerman lived the “if I can just hold on until my daughter graduates” mindset.

In 1916 Margaret M. Ackerman filed for a legal separation, asking for a $100 per week alimony. In the legal suit, Mrs. Ackerman submitted letters between her husband and daughter’s young friend May Smith. At the time, Philip Dodd Ackerman was 41 years old. Mrs. Ackerman filed proof of correspondence between his husband and Miss May/Mae Smith. Some newspapers announced, “Mrs. Philip Dodd Ackerman Charges Husband is overly friendly with Mae Smith, submits letters to girl” (Brooklyn Daily Eagle, 16 March 1916, page 2). The “Brooklyn Daily Eagle” article elaborated, “Mrs. Ackerman’s complaint is that her husband is over-friendly with a girl named Mae Smith, who is so young that she was introduced into the family originally as a companion to Miss Emmie Bell Ackerman, who is still in school. Ackerman and Miss Smith, the wife charges, live in the same house in Rockville Centre, L. I., and that Ackerman has made efforts to adopt her as his daughter. Ackerman, according to the charge, pays Miss Smith’s expenses. Ackerman and Miss Smith both deny the wife’s intimations, and Miss Smith says she is a stenographer, thoroughly capable of earning her own living and does not need Ackerman’s support, nor does she get it. The wife introduced in her affidavit for alimony some letters which she said her husband wrote to Miss Smith and which indicate a friendship which Ackerman was unable to break off, because of his fondness for the girl.” How horrifying for all, especially when your personal life makes headlines.

“The Standard Union” reported “Ackerman denies flatly any familiarity with May Smith. Who, he says, was brought into his home at Rockville Centre by his wife. The couple were married in 1897 and have one child, Emmie Bell Ackerman. The girl attended Packer Collegiate Institute up to the early part of the year, but Ackerman refused to pay her tuition longer, because, he said, her mother was continually keeping her home. Ackerman’s scenic studio is at 1576-80 Bushwick avenues, and he does work for the Schuberts. The couple lived at 499 Washington avenue, Brooklyn, also” (March 16, 1916, page 5).

The “Buffalo Times” published some of the letters allegedly written by Ackerman to Smith (24 March 1916, page 2). One, dated May 21^st, 1915, read, “My Dear Little Girl: I hate to recall the sad-eyed look you gave me last night when we parted – I hope and pray only temporarily – but I want you to feel just as I told you, dear. I do not want to place you in a position wherein your mother is not aggregable to you; and yet, dear, I cannot give you up. I cannot do this. I love you so dearly. Forgive me writing you, dear. I cannot resist it. And possibly you want to forget me too, and yet I will do these things to you to ever remind you of me. Some sad, old day today. I am glad I have many things to think of, and I am sorry you have not too many things to do that would relieve your mind. With all the love in the world to you dear. Your sweetheart, PHILIP.”

In the same article Mrs. Ackerman asserted her that husband also wrote, “My Dear May: You little rascal. Here I have been in the studio all day and you did not call me up. Did you forget me, dear? It is nearly 6 and I am pounding away at a sketch. I would love to be with you, dear, but if I stick at this and finish it can be longer with you tomorrow.” Mrs. Ackerman further accused her husband of lavishing Miss Smith with vanity purses, hats and plumes. She also reported that Mrs. Ackerman believed her husband had introduced Miss Smith as his secretary, his cousin, his niece and even once as Mrs. Ackerman. She also added that he “got his mother to take out adoption papers for Miss Smith, so that the girl may pass as his daughter.” What a tale to tell the newspapers; it certainly brought the entire family into the public eye. In response to his wife’s accusations, Ackerman denied his wife’s charges and said that Miss Smith visited their home as Mrs. Ackerman’s friend. The newspaper article reported, “He admitted calling Miss Smith ‘my dear’ facetiously and only in his wife’s presence.”

Although Ackerman denied familiarity with the girl, two years later he listed Mrs. May Ackerman as his wife on his WWI draft registration card. The couple was residing at 140 West 39^th St. At the time, his occupation was listed as a theatrical scenery manufacturer, running P. Dodd Ackerman Studios Inc., also at 140 West 39^th, NY, NY. Ackerman’s physical appearance was described as medium height and medium build with light blue eyes and blond hair.

This had to have been an extremely awkward time for the Ackermans. As drama encircled the couple, their daughter was forging ahead in life, finding love and a marriage all her own.

In the midst of scandal, their daughter married Howard Turner in 1917. She is listed as Emma B., Emmie, Emily and Bell. in various historical records. Her wedding announcement in “Brooklyn Life” announced, “Miss Bell Ackerman’s marriage to Mr. Howard Turner has just been announced. The wedding took place in Jersey City on the thirteenth of last month. The bride is the daughter of Mr. and Mrs. Philip Dodd Ackerman, formerly of Rockville Centre, and a Packer girl of the class of 1915. Mr. and Mrs. Turner will reside at 275 Ocean Avenue” (Brooklyn Life, Oct. 17, 1917, Vol. LVI, No. 1441, page 15). She later remarried and was listed as Mrs. Fred Barrett at the time of her father’s passing.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1067 – P. Dodd Ackerman (1875-1963), the Early Years

Philip Dodd Ackerman (1875-1963) was an actor, scenic artist, designer and producer. He became an extremely well-known and well-respected Broadway designer, and has numerous entries in the Broadway Database (https://www.ibdb.com/). Ackerman is credited with ninety-one productions from 1897-1939, but this is just a small percentage of his work throughout the duration of his career.

In 1929, the “Daily News” announced, “P. Dodd Ackerman who has created the settings for 800 productions intends to become a full-fledged producer. He is reported to have been the nameless angel of more than one show, but now he comes out in the open and announces that he will stage “Montana Fury” by David Davidson, jr. It is all about an idiot hill-billy, and the role will fall to Barry McCollum. Ackerman’s 800 scenic production is A. H. Wood’s German play, ‘Hokus Pokus.’ His first play was Harrison Gray Fisk’s “The Privateer” (NY, 28 Jul 1929 page 162).

Philip Ackerman is quite an interesting character, and possibly one of the more fascinating personalities that I have encountered to date. The 1880 US Federal census listed the Ackerman family living in Mobile, Alabama. At the time, Joseph Ackerman (b. 1848) was a salesman. His wife Frances and two young sons, Philip and Earle, were living with him. Joseph came from a relatively large family, one of eight children born to Joseph Chandler Ackerman (1812-1867) and Sophia Belinda Vanburen (1821-1892). Joseph Ackerman was born in Mobile, Alabama, in 1848. At the age of twenty-six, he married Frances T. Dibble in 1874. Philip was born in Atlanta, Georgia, on June 16, 1875, Phillip was the son of Joseph Van Buren Ackerman (1848-1882) and Frances T. Dibble (1842-1916). Two years later, his brother Earle Van Buren Ackerman arrived was born in Pensacola, Florida, on July 29, 1877. E A. Akerman (1877-1970) also became a scenic artist. There is no indication of how, or why, the world of theater beckoned both sons, luring each to New York. However, when they entered the scenic art profession opportunities were abundant and financial prospects high.

Ackerman became a scenic artist when he was about twenty years old. Typically, scenic artists began their careers at the ages of sixteen or seventeen. Later advertisements suggested that his studio was founded in 1890, but the 1892 New York Census listed Ackerman’s trade as a “gilder”; he was seventeen at the time It is possible that he took an interest in painting and art in 1890, but wouldn’t enter the theatre for another five or six years. Ackerman repeatedly cited that his first stage show was “The Privateer” Harrison Gray Fiske. Lew Morrison purchased Fiske’s melodrama in 1895 with the intent to produce it the following season (The Richmond Item, 18 Feb 1895, page 3). By 1897, Fiske took Morrison and Abram to court for violation of their contract with “The Privateer,” citing that they failed to provide “adequate scenery and a competent company” (Democrat and Chronicle, Rochester, NY, 22 Aug. 1897, page 15). Fiske asked for a temporary injunction for Morrison and Abram to have the opportunity to live up to their contract. Therefore, Ackerman either delivered scenery for the failed attempt in 1896 or the revised production in 1897.

Regardless, 1897 was a turning point for Ackerman. He married Marguerite “Margaret” Meyer in Manhattan, New York on July 16, 1897. At twenty-two years old he was rapidly making a name for himself, and soon became associated with the Empire and Novelty Theatres. The couple celebrated the birth of one daughter by 1899, Emma Bella Ackerman. At the time, the small family was living in Brooklyn, New York.

In 1898 Ackerman painted special scenery for the James-Kidder-Warde Company’s productions of “The School for Scandal.” When the three-star combination toured Lexington, “The Morning Herald” reported, “Special scenery from the brush of Mr. P. Dodd Ackerman, scenic artist for the Empire Theatre, New York, has prepared for all of the plays” (Lexington, 29 Oct. 1898). That year Ackerman also painted scenery for the “A Fair Rebel” at the Novelty Theatre. The “All the scenery necessary for the production has been under the direction of P. Dodd Ackerman” (The Brooklyn Citizen, 4 Dec. 1898, page 10).

By 1899, “The Gazette” described Dodd’s scenic contribution to Howard Hall’s “A Soldier of the Empire” (Montreal, 21 Sept. 1899, page 5). The review reported, “The costuming is of the Directoire fashion, while the elaborate scenic investiture is perfection of the artist’s skill. The latter is by P. Dodd Ackerman whose work for the Frohman productions, particularly “Under the Red Robe,” called for so much praise in the past.

At the turn of the century, newspapers refereed to the scenic artist as “that international famous artist, P. Dodd Ackerman” during his work for “The Honest Blacksmith” (Courier-News, Bridgeport, NJ, 8 Nov. 1900, page 2). During this same time, he was also responsible designing scenery for the revival of “M’liss,” a comedy drama of western life, produced by A. J. Spencer of Jacob Litt’s office (Democrat and Chronicle, 13 May 1900, page 14). Ackerman was quickly becoming a rising star in the scenic art world.

The 1900 US Federal Census listed Ackerman as an artist and living at 878 Driggs Avenue I Brooklyn, NY. That year, he briefly partnered with Homer F. Emens to deliver scenery for the production of “Aria” at the Columbia Theatre (Evening Star, Washington, D.C., 17 March 1900, page 20). Reviews noted, “’Aria’ is to be very big scenically, and the picturesque settings by Homer Emens and P. Dodd Ackerman.” The partnership continued into 1901 with the pair designing and painting scenery for “The Power Behind the Throne” (Brattleboro Reformer, 17 Sept. 1901, page 1).

By the fall of 1901, Ackerman was again working solo with assistants. The “Brooklyn Citizen” noted that Ackerman and his “assistants” were the scenic artists for the Orpheum theatre, and delivering scenery for all the upcoming shows at the Gotham Theatre, formerly the Brooklyn Music Hall, after its renovation (15 Sept. 1901, page 10). They were responsible for new scenery. He also designed scenery for the Elite Stock Company’s production “All the Comforts of Home” (The Brooklyn Citizen, 10 Nov. 1901, page 10), as well as scenery for “Russian Serfs,” a melodrama dealing with the Crimean War (The Brooklyn Daily Eagle, 29 Dec, 1901, page 16).

In 1902, business was going so well, that Ackerman bought a house on Warwick Street in Brooklyn from Catherine Rose (Brooklyn Daily Eagle, 18, Jan 1902, page 16). “The Buffalo Review” reported “Four complete sets” for “The Lily and the Prince” were being painted by Homer Emens, P. Dodd Ackerman, L. W. Seavey and Church & Wheeler (17 Feb 1902, page 5).

It was in 1902 that Ackerman formed a partnership with Lemuel L. Graham, Thomas G. Moses’ former business partner. Purchasing a studio on Bushwick Avenue in Brooklyn, New York. The property was described as “s w s, 100 n w n e 56.3; John C. Schenck to Philip D. Ackerman and Lemuel L. Graham” (The Standard Union, 13 Aug. 1902, page 10). By July 1903, ownership of the property was transferred from Graham to Ackerman (The Standard Union, 22 Jul 1903, page 10), effectively forming the P. Dodd Ackerman Studio. The same property would be transferred to Louis Jacobs by 1904 (Time Union, 4 May 1904, page 13), yet Ackerman’s business address would remain the same.

1903 productions with scenery by Ackerman included “Mayor and The Judge” – with the Scranton “Tribune” reporting the show was “painted by the celebrated artist P. Dodd Ackerman of New York City” (The Tribune, Scranton, 9 Dec. 1902, page 6). Ackerman was also credited with the Gotham Theatre production “Pearl of Savoy” (Brooklyn Daily Eagle, 20 April 1902, page 52), the Elite Theatre Company’s “The Unknown” (16 March 1902, page 24); “Tracy the Outlaw” (Brooklyn Citizen, 5 Oct. 1902, page 16); “Beacon Lights” (Times Union, 8 March 1902, page 17); “A Rough Rider’s Romance” (Brooklyn Citizen, 22 Feb 1903, page 16)’ “Deserted at the Altar” (Times Union, Brooklyn, 14 Nov. 1903, page 13); and “The Lost Paradise (The Standard Union, Brooklyn, 18 Jan. 1903, page 15). When “Deserted at the Altar” appeared at the Novelty Theatre, newspapers reported, “P. Dodd Ackerman, the celebrated scenic artis, worked three solid months on scenery for the ‘Deserted at the Altar’” The Fall River Daily Herald, 28 Nov. 1903, page 2).

That same year P. Dodd Ackerman was listed as the scenic artist for both the Gotham and Orpheum Theatres in Brooklyn, NY (The Brooklyn Citizen, 22 Feb. 1903). He advertised in “Julius Cahn’s Official Theatrical Guide” under “P. Dodd Ackerman, Scenic Artist” adding, “now occupying my large Studio building devoted exclusively to this business.” Ackerman’s business address was still listed as 1576 to 1580 Bushwick Ave. He advertised, “Productions carefully prepared and models designed from Author’s descriptions,” offering “estimates gladly furnished for both Painting and Constructing scenery, properties, electrical apparatus, etc.” Ackerman expanded his firm the next year, changing the name to “P. Dodd Ackerman & Co.” The company was advertised as “Scenic Artists and Constructors.”

P. Dodd Ackerman advertisement in “Julius Cahn’s Official Theatrical Guide,” 1903-1904.

1904, the scenery for Burlington’s New Theatre was credited by P. Dodd Ackerman & Co., of Brooklyn, NY (Burlington Clipper, 15 October 1904, page 5). By 1905 the firm’s services included “Electrical scenic productions for parks, etc. scenery for theatres, halls and exhibitions, act drops and asbestos curtains, fireproof scenery and storage.”

In 1905, Ackerman transferred the Warwick St. home to his wife, Margaret M. Ackerman (Times Union, 6 May 1905, page 9). This is likely the year that marriage troubles accelerated for the young couple. Yet their marriage seemed to struggle along for another decade. That same year, P. Dodd Ackerman’s studio and the studio of Gates and Morange delivered scenery for “The Lightning Conductor” (Courier-News, Bridgewater, 18 Dec. 1905, page 4). In 1906, the “Greensboro Dispatch” reported P. Dodd Ackerman was part of a team dispatched to Alaska’s Klondyke country to gather images of atmosphere and scenes for “The One Woman” (17 Oct, 1906, page 8) – “The hunters after atmosphere and scenes spent three weeks wandering about the Alaska goldfields and returned to New York City with enough stuff for half a dozen shows…The three scenes in Alaska are actual sketches from life and will be recognized by many who have visited the Klondyke. The electrical effects, which include the play of the aurora borealis on the sky, and its reflection on the snow-capped mountains, the lurid gleams of red and blue lights on glaciers and the snow drifts, the curtain of light, the Alaskan cloud effect, the sun shining at midnight, and the prayer fires of the Esquimaux, or ‘witch lights,’ as the miners call them – with the usual stage lights make an unusual equipment.” The stage electrician that went on the trip was Charles Hayman.”

P. Dodd Ackerman & Co. advertisement in “Julius Cahn’s Official Theatrical Guide,” 1905-1906.

On Aug. 24, 1907, the Brooklyn Daily Eagle listed P. Dodd Ackerman’s purchase of a new home from Edwin G. Wright in Nassau County, in Riverside Park, Rockville Centre (page 20). By 1910 Ackerman moved to Hempstead, New York. He seems to have been living with his wife and daughter again; daughter Emma was eight years old at the time.

By 1911, the studios of Ackerman and John H. Young delivered scenery for Paul Wilstach’s dramatic version of “Thais” (The Gazette, York, Penn, 14 Feb 1911, page 9). John H. Young was also a close friend and colleague of Moses whom I have covered extensively in past posts. By his point in his career, Young was also a well-known and well-respected Broadway Designer.

In 1912 the “Washington Herald” reported Ackerman’s involvement with “The Chimes of Normandy.” The article reported, “Edward Temple, formerly stage director of the new York Hippodrome, had staged the production, while Reisig, late of the Metropolitan Opera and P. Dodd Ackerman have built the succession of cyclorama scenes, and the armor and costumes have been imported from France especially for this production (20 Oct 1912, page 22). “The scenes have been built on a cyclorama plan” (Burlington Free Press, 22 Sept. 1913, page 6).

Then there was a decided shift; a shift in his life, his marriage and his career. It is not that he began failing in his career, but his love life became quite complicated.

By 1914, Ackerman partnered with his brother E. A. Ackerman, establishing Ackerman Brothers Scenic Studio. Previously, brother Earle was also running his own studio, renting the old Harley Merry space in Flatbush until it burned to the ground in 1911. The 1914 “Gus Hill’s Theatrical Directory,” included an advertisement for Ackerman Bros. The ad stated, “scenery painted and constructed,” also offering “motion picture settings.” Their studio was listed on Bushwick Ave.

Ackerman Bros. Scenic Studio, advertised in “Gus Hill’s Theatrical Directory,” 1914.

This is about the time when everything changes for Ackerman and his first wife; their marriage appears to start falling apart, with their separation making the newspapers by 1916. That will be a separate post tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1066 – P. Dodd Ackerman, 1920

The scenic art world was small in 1920. Then, just as now, personalities circled around one another as if dancers at a ball, occasionally changing partners along the way. Today’s post is about P. Dodd Ackerman, a friend and colleague of Thomas G. Moses who made the papers in 1920. The next few posts will explore the life and career of P. D. Ackerman and his brother E. A. Ackerman.

Advertisement for scenic artist P. Dodd Ackerman in “Julius Cahn’s Official Theatrical Guide” for the 1903-1904 season.

On Feb. 29, 1920, Ackerman was featured in a “New York Tribune” the newspaper article. The headline for the article announced, “Work of the Scenic Artist Has Advanced Materially Says P. Dodd Ackerman” (New York Tribune, 29 Feb 1920, page 34). The most interesting section of the article for me was the section: “Theatrical managers are now accepting designs from men who do not make the scenery. Ackerman does not believe in this and has come to be one of the pioneers in coming out against the practice. He believes that the man who is the artist, who is practical, who understands stagecraft and has education can do the type of work now required in the theater, although he has been a member of the old school of stage design.” Times were changing and the scenic world was turning upside down with the appearance of designers without a full understanding of stagecraft.”Here is the article in its entirety, as it provides an interesting perspective of the scenic art world in 1920, viewed from a member of the “old school”:

“J. E. Dodson, the English character actor in the late Charles Frohman’s companies, liked stage interiors to match the socks he wore. When P. Dodd Ackerman and Ed Unitt, the scenic artists with the producer, were at work on scenery for a new play he would come up, show them his socks and say:‘Boys, be sure to get the right shade for these.’“Now Ackerman has a very different problem. He is trying to design a room which will be the setting for the three acts of Max Marcin’s new play, ‘Three Live Ghosts.” It must not be ornate, it must not be highly furnished and yet it must hold the interest of the audience throughout the play.‘Sounds very simple, doesn’t it?’ he asked in the office of his studio opposite of the Metropolitan Opera House. ‘Yet I have been going about for ten days trying to dream of just the right room.’In these two instances there is summed up the advance in scenic art, an advance which has come in the last six or eight years, starting in Europe. When Dodson was acting and even years after his retirement, stage decorations were supposed to be reproductions of nature or of a locality or room. They were copied line for line, and the element of imagination, although present, did not enter into the designing of the scenery. Simplicity and suggestion are the keynotes of modern stage designing. Imagination is called upon, both the imagination of the artist and the imagination of the audience, and much is only hinted at, sometimes very faintly. Big, blank wall spaces are being used and are believed to be more decorative than the highly ornate hangings of a few years ago.Scene painters until four or five years ago, designed, created and made the scenery themselves Theatrical managers are now accepting designs from men who do not make the scenery. Ackerman does not believe in this and has come to be one of the pioneers in coming out against the practice. He believes that the man who is the artist, who is practical, who understands stagecraft and has education can do the type of work now required in the theater, although he has been a member of the old school of stage design.‘Many studios have allowed managers to hand them so-called designs and have made them possible through their efforts,’ he said. ‘The man who did only the very primitive part of the work got all the credit and the studios were never heard of. But it meant an income to them and they were satisfied. I have consistently refused work with any except of my own designs, and I have had a hard battle to convince managers that a man with an established reputation in the old school can change the order of things and do the new. How many theatergoers who laugh at the situations and admire the acting give even a moment’s consideration to the thought, the time and the expense of the stage decorations which often help make or ruins a production? It is doubtful of the ratio is more than one in ten.Briefly Mr. Ackerman, who has designed and built scenery for many Winter Garden productions, for ‘The Magic Melody’ and ‘The Passions Flower,’ now current on Broadway; for ‘Le Coq d’Or,’ at the Metropolitan and many other plays, described the steps leading from the manuscript to the completion of the scenery and its erection of the stage.The manuscript is turned over to the scenic artist, and frequently the playwright confers with him and suggests what he desires to bring out in various scenes. After reading the manuscript and noting the locale or setting, the artist designs the scenes in colored studies. These are submitted to a manager and at a conference at which the author, the stage director and the artist are present, they are discussed and either accepted or rejected.‘Sometimes it is necessary to make a great many studies before one is accepted. It is just like writing a play or a story. You might hit it at the first attempt, or you might have to wrote and rewrite until you are successful,’Models, drawn to scale and planned as carefully as houses, are made from the sketches and are also submitted. When they are passed, working drawings for the builders are made, and they are charged with determining the mechanical details of the work. For example, every piece of scenery must be no more than five feet ten inches in width in order to make railway transportation of the sets possible. The scenes are usually all fitted up before the painters start on them, and when completed are set up in the theater by the mechanic who built them from the plans, usually not until the day of the dress rehearsal.‘Lighting is a very important element,’ Mr. Ackerman said, ‘and I stipulate in every contract that I make that it must be under my supervision. I know the play, and working with the stage director it is possible to bring out the desired effects. Stage lighting, I find, is largely a matter of patience and experiment. In costume plays, it is necessary to have the actors on the stage during the experiments to see the effect of the lights on their costumes.The average time necessary to design and build the scenery for a play is from six to eight weeks, but seldom is enough time given.‘It is necessary then to think quickly and have a great source of knowledge at the tips of one’s fingers,’ Mr. Ackerman continued.To prepare for his work, Mr. Ackerman studied at the Art Students League, at Cooper Union, and Beaux Arts in Paris. He has also traveled and read extensively. Ed Unitt and he were the artists for the late Charles Frohman, and this, he says, was the best job he ever had.Through the lofty-ceilinged studio he led the way. Huge canvases, many colored, were stretched out on frames, waiting for the artist’s brush. Yet no scaffolds or ladders were visible. Simply by pulling a rope, which adjusts a system of weights, it is possible for one man to place the gigantic easel in any position he desires.‘Scenery,’ he concluded, ‘must be a background. When it gets beyond a background, then it is stage scenery. It should never intrude so much that the audience overlooks the play, the costumes or the people on the stage.”

To place Ackerman within the context of the Thomas G. Moses story, both Moses and Ackerman partnered with the same artist – L. L. Graham. In 1882, Thomas G. Moses left the Sosman & Landis Studio for the first time. He partnered with Lemuel L. Graham for just over a year. Graham later partnered with P. Dodd Ackerman in Brooklyn, New York. Their studio building was at 1576 to 1580 Bushwick Ave, New York. They purchased the Brooklyn lot in August 1902. By this time, Moses was also working in New York and had partnered with William F. Hamilton, forming Hamilton & Moses.I will continue to explore the life and career of Ackerman in tomorrow’s post.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1056 – Fred Marshall and the Ascher Bros. Capitol Theatre in Manitowoc, Wisconsin, 1920

In 1920 Thomas G. Moses wrote, “Marshall also closed up a contract with the Ascher Brothers, so we have plenty of business.”

Fred Marshall was a scenic artist and salesman who would later represent the United Scenic Artists’ Association of New York City. Born in Woodridge, New Jersey, on March 24, 1895, he was the son of Louisiana native and mural artist, Frederick Marshall, Sr. (b. 1851).

Marshall was first mentioned in Moses’ memoirs in 1918. When Moses resigned as President of the Sosman and Landis Company on Sept. 1, 1918, he joined New York Studios. Moses fully expected to get a studio and an office to do business as part of the contract, but finding space was an unending problem. Moses wrote, “Marshall of the New York Studios and I had to hustle out for a studio. Got an office in the Consumers Building. I did two borders for the Chateau Theatre at the old place. We tried very hard to buy out the old place, but they want too much money. I was willing to make a big reduction on my claim, but it was no use. We have to find a studio.” He worked closely with Marshall in 1918 and again in 1920. Unfortunately, Moses would only last with New York Studios for a year before signing another contract with Chicago Studios.

Marshall became a real mover and shaker in the world of American scenic art world. However, in 1920, he was a young man of young man of 25 working as a studio salesman. The contract that he landed that year was with Ascher Bros., managers of the Ascher Theatres chain. In 1920, Ascher Theatres included the Oakland Square Theatre, Metropolitan Theatre, Frolic Theatre, Columbus Theatre, Peerless Theatre, Kenwood Theatre, Chateau Theatre, Lakeside Theatre, Terminal Theatre, Albany Park Theatre, Adelphi Theatre, Calo Theatre, Milford Theatre, Lane Court Theatre, Midway Theatre (Chicago Eagle, 6 March 1920, page 9).

On Nov. 6, 1920, the “Post-Crescent” reported of a new theater in Manitowoc – the Capitol (Appleton, Wisconsin, page 7): “The new Capitol theater being built by George Bros. Co. upon its completion will be leased to Ascher Bros., well known lessees of vaudeville and motion picture houses of Chicago. This was announced following a visit to Manitowoc of Lewis P. Newhafer, general manager of Ascher Bros., and J. J. Cotter, mechanical expert who conferred with the builders. The theater will be opened the latter part of December. It will be used as a movie, as well as a legitimate playhouse. George Bros. are spending $200,000 on the venture.” I think that this is the contract that Marshall landed that year.

Aschers Capitol Theatre in Manitowoc, Wisconsin.

The George Bros. would have been responsible for the construction of the building, but not the scenery on stage; that would have been the responsibility of the lessees – the Ascher Bros. Therefore, Marshall would have negotiated the scenery for the Capitol in 1920, meaning that Sosman & Landis delivered the scenery to Manitowoc.

In an unbelievable twist of fate, I toured the Capital last summer. Here is my post about the space: https://drypigment.net2019/08/04/travels-of-a-scenic-artist-and-scholar-aschers-capitol-theatre-in-manitowoc-wisconsin/

I even photographed some snippets of the original scenery, tucked away in the nooks and crannies; high quality stuff. What a small world.

Extant flat at the Capitol Theatre in Manitowoc, Wisconsin.

Painted detail Extant flat at the Capitol Theatre in Manitowoc, Wisconsin.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1053 – Returning to Sosman & Landis, April 1920

At the end of March 1920, Moses delivered Atlantic City Boardwalk scenery to the St. Louis Coliseum for a local charity event. At the time, he was working for Chicago Scenic Studios, having left both Sosman & Landis and New York Studios in Sept. 1918 and Sept, 1919 respectively.

By the spring of 1920, Moses wrote, “On the 20^th of April, I signed an agreement to return to Sosman and Landis Company to draw $6,500.00 for the first year and my stock returned to me, which means I will have a chance to get more if I can make the business pay.”

He was returning to a dying company, one that would close within three years. He wrote. “I have painted a large autumn canvas for the Sosman and Landis Company office, as the offices are going to be very nice.”

There were also a few events leading up to his return. Just before he recorded his decision of a return to Sosman & Landis, Moses wrote, “My head aches all the time – not severe, but a dull ache that is very annoying.” The headaches were likely from his 1918 head injury. That year, he wrote, “October 10^th, I was knocked down by a boy on a bicycle in Oak Park. It was dark and I did not see the wheel. It was thought by the doctor that I had fractured my skull. It was a couple of months before I recovered.” Moses didn’t take the time to let the injury properly heal and was on the road again too soon. The headaches continued to plague him for the next few years.

Moses was also having problems with his teeth, something that doctors also thought may be contributing to his headaches. Later in 1920 he wrote, “Had an X-ray taken of my teeth and found them awfully bad, so I had to get busy and have them all extracted, excepting six lower ones. It was some job. Not as much of a shock as I expected.” A few months later, Moses wrote, “My headache still continues and there seems to be no help for it. No one seems to know the cause, now that my teeth are all out, which everyone thought would be the remedy.”

But there was another dynamic at play before his return to Sosman & Landis.

That spring Moses wrote, “Mr. Hunt arrived from New York and remained for a few days, then left for California where he will remain several weeks. I interceded for Parker, formerly of Sosman and Landis with Mr. Hunt, and I think he will engage him to go to New York City.” Now this statement caught me by surprise. Moses had signed a one year contract with Chicago Studios during the fall of 1919, after having left the employ of David H. Hunt at New York Studios. Did he go back, and was New York Studios still considered the eastern affiliate of Sosman & Landis?

By early spring 1920, Moses wrote, “We are having a hard time to keep a man in the office. Nobody seems to please Mr. Hunt.” So, Moses was working with Hunt during the early spring of 1920, yet not associated with Sosman & Landis, but there was also no mention of Chicago Studios who he accepted a one-year agreement with from fall 1919 to fall 1920. After Moses’ returned to Sosman & Landis, Hunt is still in the picture. That summer, Moses wrote, ““Mr. Hunt sent Mr. Leo Staler on from New York to take my place and while he tried to be very nice about it, there was something about his attitude that didn’t ring true.” Mr. Hunt was also involved with Sosman & Landis finances, as Moses mentioned him in August 1920: “Mr. Hunt promised to send me a check for $700.00 on the 15^th of August. I had to go without it, and received it in Colorado Springs after I had made all the arrangements for money to go with. We left for the West August 19^th.”

The honeymoon phase of Moses’ return to Sosman & Landis had already worn off by summer. By the end of May Moses wrote, “The haggling and wrangling in the studio and office is certainly getting the best of me, and I will be glad when time comes for me to migrate to Clinton Street.”

Moses must have migrated to the main studio on Clinton Street after returning from his summer vacation, August 19-Sept. 28. Upon his return, he wrote, “ It took me a few days before I was in the harness again, and working just the same as I did before I left two years ago. Landis and I got out after business within a few days after my arrival and succeeded in landing a few good ones. I started to do some painting but it did not last long, as I had too much other business to do. I found the conditions altogether different from what I supposed them to be – too much overhead. It will be awfully hard to keep up the output to balance it all.”

Sosman & Landis had flailed about for two years during Moses’ absence. Although he had returned, it was too late to resuscitate the dying company. He was trying to make the best out of a bad situation. But he was also returning home. His scenic career really started in the Clinton Street studio in 1880. He was there were Sosman and Landis built the space. He would be there when the firm left the space in 1923 too. Good or bad, it was everything familiar to him. At the end of 1920, Moses wrote, “I am pretty well satisfied with the result of this year’s work and I feel that changing back to Clinton Street was the best thing for me to do, as I really belong there, as my money will always be there unless the business is sold.” I have to wonder if he had any idea that the business would be sold in under three short years. He was 64 years old at the time.

Sosman & Landis also manufactured stage hardware until the 1920s.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1044 – Mrs. Howard Lind and the Bal Surprise, 1920

In 1920, Thomas G. Moses wrote, “A big ball at the North Side Armory, given by Mrs. Howard Linn gave us a hard job to put up, and we just did that and nothing else.”

Mrs. Howard Linn was in charge of the “Bal Surprise” in 1920. From the “Chicago Tribune,” 31 Jan. 1920, page 3.

This was another Chicago Studios project supervised by Moses before his return to Sosman & Landis in April 2020.

Mrs. Howard Linn was a well-known Chicago socialite, residing at 55 Cedar Street. Linn was involved with many public charity endeavors, social pageants, and social organizations. In 1920 Linn was the chairman of the committee in charge of the Junior League ball held on January 30, 1920, at the Second Field Artillery armory on Chicago avenue and the lake. The feature of the ball was a pageant, announced in the “Chicago tribune” on January 3, 1920 (page 15). This was the event that Moses was referring to in his memoirs.

From From the “Chicago Tribune,” 3 Jan. 1920, page 4.

On Jan. 25, 1920, the “Chicago Tribune” reported, “The ‘Bal Surprise’ to be given on Friday evening by the Junior League will be a sort of grand finale to the most brilliant social season Chicago has had in many a year. Mrs. Howard Linn is in charge of the arrangements for the ball, which gives promise of being one of the most interesting affairs ever given here. The feature of the evening will be ‘tableau vivants,’ in which a number of well-known matrons and maids will take part. Herman Rosee, Randal Davey, Allan Philbrick, and Mr. Norton of the Art Institute are assisting Mrs. Linn with the tableaux, the costumes, and the decorations of the First Artillery armory, where the ball is to be held. Mrs. J. Andrews King is co-chairman with Mrs. Linn, and the chairmen of the subcommittees are as follows: Ushers, Miss Edith Cummings; tickets, Miss Caryl Dunham; refreshments, Mrs. Frederick C. Letts; program, Mrs. Lowel Chapin; music, Miss Emily Bisell; decorations, Mrs. Barney Goodspeed; costumes, Mr. Thorne Donnelley, and boxes, Mrs. Frank Hibbard.”

On the day after the ball, the “Chicago Tribune” reported, “’Bal Surprise’ Nets $12,000 for Charity” (Jan. 31, 1920, page 3). The article continued, “If it had not been for the modern dress of the guests at the Junior League ‘Bal Surprise’ last night, one would have imagined one’s self at a ball in a medieval castle. The first artillery armory, the scene of last night’s revel, is of medieval architecture and the members of the league, who acted as hostess, were gowned in the picturesque modes of those days long ago. In long trained gowns with basques and tall pointed square headdresses, they looked as if they had stepped out of the frames of old paintings of the fourteenth and fifteenth century. They were divided into two groups, the ushers, whose duty it was to see that everyone present enjoyed the party to the utmost, and the cushion bearers, who between dances flung gaily colored cushions on the floor so that the guests might be seated during the ‘tableaux vivants,’ which were the ‘piece de resistance’ of the affair.

“The tableaux, seven in number, were shown in a larger gilt frame which was hung at the end of the ballroom behind curtains of star dotted midnight blue. Mrs. Howard Linn, chairman of the ball, was assisted in arranging the tableaux by Abram Poole and by several artists from the Art Institute, Randall Davey, Harman Rossé, Allan C. Philbrick and John W. Norton. The backgrounds, which were particularly attractive were painted by these artists and they also assisted Mrs. Thorne Donnelley in designing the costumes. In the first tableau Mrs. John Andrews King and Mrs. Morris L. Johnston, dressed in pastel shaded Grecian robes, posed as figures on a Grecian vase. They were followed by Mrs. Rufus J. Zogbaum, Jr., who, with her lovely auburn hair hanging loose, made a perfect Giorgione Madonna. Preceding the next tableau, in which Miss Polly Carpenter, who is as dainty as a bit of Dresden china, with a figure in an Arras tapestry. James L. Breeze, dressed as a bird vendor with a big hoop on which his wares were perched around his hips, danced a sort of clog dance. He was assisted by Miss Sylvia Shaw and Miss Elizabeth Farwell, dressed as court ladies.

“Mrs. and Mrs. John R. Winterbotham Jr., danced a gavotte as a prelude to the fourth tableaux, in which Mrs. David Adler, attended by an Ethiopian slave, posed as a Van Dyck portrait. Preceding the fifth tableaux, a Chinese screen, Mrs. Mitchell Hoyt sang a Chinese lullaby, accompanied by Miss Louise Thorne on the mandolin. Miss Lucretia Green and Miss Alice Bradely also were in this group. The figure son the screen, which was one of the most interesting of the tableaux, were Miss Mary Rend, Miss Mabel Linn and Mrs. Joseph T. Bowen Jr.

“Mrs. John Root as a figure in a Persian print was next, and last was a Wedgwood plaque in which Mrs. Charles Edward Brown, Mrs. Philip D. Armour III., Miss Gladys High, Miss Lois Kellogg, and Miss Adelaide Pierce posed. Dressed in White robes, with their faces, necks, and arms as white as plaster and their hair covered with white wigs, the group made a base relief against a background of that wonderful Wedgwood blue, one of the most effective and attractive of the pictures.

“The cardroom, or aviary, so-called because it resembles a monstrous bird cage, was decorated with tropical birds, vines and flowers, bright colored lights and awnings. Mrs. Charles Barney Goodspeed was chairman of the committee in charge of decorating the building.

“Miss Edith Cummings, Miss Elizabeth Martin, and Miss Betty Quick were dressed as heralds and carried horns, with which they summoned the guests to the ballroom of the tableaux…a buffet supper was served during the evening in the lounge.

“The proceeds amounted to about $12,000, and will be devoted to charities to which the league annually contributes, including St. Luke’s hospital, the Visiting Nurse association, the Juvenile Protection association, the Infant Welfare society, Practical Housekeeping centers, the Mary Bartlme club, the Mental Hygiene society, the Legal Aid Society, the United Charities, the Park Ridge Home for Girls, the Fort Sheridan beach fund, and the Fort Sheridan Christmas fund.”

The monetary equivalent of $12,000 in 1920 is $153,836.40 today.

The tableaux backings were produced under the supervision of artists from the Art Institute, including Poole, Davey, Rossé, Philbrick and Norton. Moses and many scenic artists were also members of the Art Institute. My research suggests that the tableaux were produced at Chicago scenic studios, as the scenic artists had paint frames large enough to produce scenery for the event, unlike most fine artists.

From the “Chicago Tribune,” 7 May 1920, page 101.

From the “Chicago Tribune,” 17 Feb. 1920, page 3.

To be continued…