Back to the life and career of Thomas G. Moses after getting
sidetracked by the Ackermans. I am beginning the year 1921. Thomas G. Moses
wrote, “The New Year was ushered in by a general clean-up of the studio, and a
pleasant call from Tom McCall.”
This is the first mention of a Tom McCall in Moses’ diary
and there is no additional context to help place this individual in a public or
private setting. It remains unclear whether McCall came by the Sosman &
Landis studio or to Moses’ home.
There were a few Thomas McCalls living in the Chicago area
at time, including the attorney Thomas H. McCall, the doctor Thomas E. McCall
and the architect Thomas C. McCall. I believe
it was the architect Thomas C. McCall (1856-1925) who called on Moses near the
beginning of 1921.
McCall was born on August 6, 1856, in Newburgh, Fife,
Scotland. He was the son of William McCall and Catherine Fotheringham, sailing
from Liverpool about April 15, 1883. He was naturalized in 1892, before the
Superior Court in Cook County. McCall married to Anna Delle Penney (1859-1903)
on April 6, 1892 in LaSalle, Illinois, and the couple celebrated the birth of two
daughters, Catherine (1897-1972) and Arvilla (Arville) P. (1899).
The first mention that I have encountered of Thomas McCall
as a Chicago architect was in 1892. At the time, he was primarily designing
hotels, such as the Holland Hotel for C. B. Waite (Inter Ocean, 7 Aug, 1892,
page 10). Other hotels that year included a four-story hotel for Mary J.
Reynolds and another for Mrs. George Krick. In 1892 he also designed a five-story clubhouse and
hotel being built by the Queen Isabelle Association at Sixty-first street and Oglesby
avenue (Inter Ocean, 9 Oct. 1892, page 10). In 1893, the “Chicago Tribune”
reported, McCall completed drawings for the Hotel Oceana erected by John F.
Thompson at Nos. 6331 and 6333 Drexel Ave in Chicago in early 1893 (12 Feb
1893, page 30).
The first listing of McCall in the Chicago Directory as an
architect is in the 1898 That year he was residing at 5344 Madison Avenue. McCall
was also listed in the “House Beautiful” architect directory for 1899. His
primary focus was “Specialty” and “Residences” (Vol. VI, No. 6, page xi). In
1900 McCall was working at 702, 167 Dearborn, and residing at 5344 Madison Ave.
Throughout 1903, McCall continued working at 710, 167 Dearborn. By 1905, however,
he was residing at 1710, 9 Jackson Boulevard.
By 1916, McCall was designing the plans for the Chicago
Picture Frame factory on Western Avenue and West Nineteenth Street, as well as
a three-story apartment house for John Coutts (Inter Ocean, 9 Dec. 1900, page
39). The next year he moved to Evanston, Illinois, where he continued to work
as an architect there. In 1917, McCall was listed as an architect in the
Evanston, Illinois, Directory, residing at 845 Ridge Ave.
A little more information about McCall surfaced in his
passport application. 1924, he applied for a passport, described as a
67-years-old man, 5’-7” with blue eyes and
gray hair. On their return trip, he and his daughter Catherine, were listed as
passengers, sailing on the S.S. Aquitania. They left on August 16th
and arrived in New York on August 24th.
McCall died on January 13, 1925 in Evanston, Illinois, and
is buried at Ottawa Avenue Cemetery in Ottawa, LaSalle
County, Illinois, USA His obituary in the “Chicago Tribune”
noted, “Thomas McCall, Noted Architect Dies at 58. Thomas McCall, well known
architect and prominent in fraternal circles died at his home yesterday, 843
Ridge Evanston, following an illness of a month. He was 58 years old and was
born at Edinburgh, Scotland, coming to Illinois forty years ago. Mr. McCall is
survived by two daughters, the Misses Catherine and Arvilla McCall. Funeral
services are to be held at 3 p.m. today as First Baptist church, Evanston.
Interment at Ottawa, Ill.” ( 15 Jan. 1925, page 12). By that summer, the
“Chicago Tribune” announced the engagement of Arvilla McCall to Albert Linne
Tholin of Dowers Grove, son of Mr. and Mrs. Andrew P. Tholin (16 August 1925,
page 71).
An example of Thomas McCall’s work is Ridge Boulevard Apartments, at the southeast corner of Ridge Avenue and Main Street in Evanston, Illinois, 1913.
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.
Joseph Zsiday (1868-1926)Elizabeth (Elza) Absalom Faber (1871-1962).
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. 13th 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 24th 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 13th 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.
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. 38th 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.
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. 38th 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.
Technical theatre history can pop up anywhere – even in a South Dakota Quonset building. In 2017 I stopped by the Heritage Hall Museum & Archives in Freeman, South Dakota. I was accompanying a colleague to see an advertisement curtain that needed some attention. While on site our Heritage Hall host mentioned a much older curtain stored in a nearby shed. Nothing could have prepared me for a series of Quonset huts, stuck in the middle of a field that hot fall day. After a brief struggle to find the correct key to open the massive doors, we wound our way past a series of antique cars and farming implements; this was off site storage for the Heritage Hall. At the far end of the Quonset was a tattered backdrop hanging from a warped batten. The influx of fresh air into the structure caused the old drop to rub against the corrugated metal. After all of these years, an old drop curtain had survived in this primitive building with a dirt floor and community of critters.
The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.
The opened doors at the far end provided just enough light for me to see the painted composition and a signature – Kaufman.
George J. Kaufman’s signature near the bottom of the drop curtain.Painted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. Kaufman
Heritage Hall Museum & Archive holds several fine art paintings by George J. Kaufman, as well as an advertisement curtain stored on site.
Detail of a painting by George J. Kaufman at the Heritage Hall Museum & Archive in Freeman, South Dakota.
George Joseph Kaufman was a well-known artist in not only Freeman, South Dakota, but also neighboring towns. Kaufman was known for his fine art, murals, theatre scenery and excessive drinking. In regard to local Freeman projects, Kaufman was credited with scenery delivered to the Freeman Opera House (later the Freeman City Hall) and all of the scenery for the Freeman college auditorium. He also produced local murals for the Bethel Mennonite Church and the Salem Mennonite Church, as well as painting the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls, South Dakota. In fact Kaufman painted a variety of scenes in numerous South Dakota Towns, starting in the second decade of the twentieth century.
Unfortunately, Kaufman’s hometown primarily recalls his struggle with alcoholism. Notes by S. Roy Kaufman, based on conversations with extended family members, paint this artist as the town drunk. Online biographies for the artist report, “It was said that he sometimes wasn’t paid for a commission until he had finished it for fear that he would begin drinking and fail to finish the work.” Maybe it was the death of his first wife in childbirth, his failed career as a scenic artist in Hollywood, or the Great Depression that pushed him to find escape in a bottle. It doesn’t really matter in the end, especially as so much of the tale remains based on hearsay. Only a drop curtain, an advertisement curtain, one newspaper clipping, and a smattering of fine art pieces remain to show the artistic potential that this young South Dakota scenic artist had in the early twentieth century.
This drop curtain by Kaufman was likely completed prior to his move to California; before his dreams diminished and the Great Depression settled in to stay.
Detail of drop curtain by George J. Kaufman.
Kaufman was born on Sept. 28, 1889, in Childstown, Turner County, South Dakota. The son of Joseph Kaufmann (1850-1926) and Francis Graber (1852-1917). The 1900 US Census lists that young George was one of five children living at home; the kids were Peter (b. 1872), Mary (b. 1875), Henry (b. 1883), Lena (b. 1888) and George (b. 1889). Census reports provide one perspective, a small glimpse into Kaufman’s private life and painting career. In 1910, George was still living at home and attending school. As he was 20 years old at the time, this suggests some continued learning or trade. He first entered his father’s trade as a jeweler.
Kaufman’s 1918 WWI Draft registration card describes his appearance as brown hair, brown eyes, medium build and medium height. At the time, he was listed as married and a member of the Mennonite Church. He was listed as a self-employed “Jeweler and Opthalmic.” The 1920 census noted that George was back at home, this time a widower by age 31. Local histories suggest that his first wife died in childbirth. Unfortunately, there are quite a few George Kaufmans who were widowed between 1911 and 1919, too many to positively identify any particular one.
Kaufman soon remarried a local Freeman girl – Martha Lea Edelman (30 Nov. 1899-Sept. 1965). The couple celebrated the birth of their first son, Owen in 1922. At the time, Kaufman was working as a jeweler, but must have been doing quite a bit of painting on the side. In 1925 he left the jewelry business to pursue his passion of painting in California.
On Oct. 30, 1925, the “Argus-Leader” announced, “Freeman Artist Plans to Go to California” (Sioux Falls, SD, page 4). The article continued, “George J. Kaufman, who has become a well-known artist in many parts of the state has decided to go with his family to Hollywood to devote his entire time to the study of his favorite work. Mr. Kaufman has sold his entire stock of jewelry and also disposed of all his household goods. He is now planning to leave in a few days for California. Mr. Kaufman deserves much credit for the work done in the Freeman college auditorium. He painted the entire stage scenery and the school and community is justly proud of the appearance of the stage. Mr. Kaufman also painted the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls. He has also done work in many other towns of the state.”
The couple celebrated the birth of two more children after Owen; Betty Jean was born in 1926 and Virginia M. was born in 1928. Only Betty Jean was born in California, suggesting that the family had returned to Freeman by 1928 for the birth of Virginia Mae, or “Penny” as she later became known. By 1930, the US Census recorded that the small family was now living in Grandview, South Dakota. Kaufman was listed as a “painter” working in the painting industry.
I find it interesting that there are no records of Kaufman being called a scenic artist. This suggests a lack of adequate training that possibly led to his downfall in Hollywood. Based on his fine art and stage art, it is not of the same caliber as many other scenic artists at the time. Kaufman purportedly worked for a short time in Hollywood, painting sets before returning home to South Dakota. I have yet to confirm his work elsewhere.
George J. Kaufman passed away at the farm where he was born on 15 May 1958. He was only 68 years old. Kaufman is buried in Freeman Cemetery, a mile west of town.
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 P. Dodd Ackerman (far left).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 1st 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.
DIE VIERTE WAND #010 is now available. Many thanks to the editor Stefan Gräbener at Theatre Initiative Berlin (https://www.facebook.com/InitiativeTheaterMuseum) for all of his hard work to make this publication possible!
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
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.
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.”
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.
1921 Bauhaus Color Wheel
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.”
