Red Curtain
Will Wehe
Lubbock Christian University

Red Curtain One of the many things that makes New York so unique is the rich history surrounding the cities there. While not much pertains to American history taught in schools, such as the wars and major political twists and turns, the history that comes out of New York is just as important in shaping the American culture. The Shubert brothers were one trio who contributed to this legacy. The Shubert family was responsible for the establishment of the Broadway district, in New York City, as the center of all things theater in the United States. It all started back in 1882 when Duvvid Shubert left his native home in the Russian Empire to settle in Syracuse, New York. Accompanying him was his wife, Katrina, and their seven children. The three Shubert boys, Lee, Sam, and Jacob, forewent most of their formal education in order work in the city and help their parents make money. It is told that Duvvid was an alcoholic and unable to support the family, thus leaving it up to the three boys (McNamara, B). Lee began selling newspapers in front of a local theater at the age of ten and was soon joined by his brother Sam. As luck would have it, Sam was cast in a small part in a play directed by David Belasco, a popular and powerful theater director at the time. Immediately, Sam fell in love with the glamourous life style of the theater and Belasco took Sam under his wing (McNamara, B). Sam went from actor to program boy at the Bastable Theatre, to assistant treasurer of the Grand Opera House, to treasurer of the Wieting, Syracuse’s most distinguished theater (PBS). With the support of his brothers around him, Sam began climbing the ranks in theater management. His brothers, however, were not far behind. When Sam Shubert was named manager of the Bastable Theatre in 1897, Jacob, the youngest brother, was working at the Wieting, and Lee was the bookkeeper for both theaters. The brothers worked together to keep their hands in as many theaters as possible. By doing this, the Shubert’s were taking steps to build the largest theatrical empire in the United States. Eventually the brothers would form their own theater, the Baker, in Rochester. With Jacob Shubert left to turn the Baker into a successful theater house, Lee and Sam set their sights on acquiring the Grand Opera House in Syracuse. Then by 1900, the brothers managed five theaters in the New York state area. At this time they had also developed their individual roles in the business. Sam was the creative leader, forming ideas to help grow the enterprise. Lee was the business mastermind behind it all (Encyclopædia Britannica). He would develop the business plans to help make Sam’s ideas a reality. Jacob was in charge of the out of town productions and the public relations. This united the brothers in their quest to rule the theater world and made sure each was important to the operation. Even though the brothers had raised themselves out of poverty and gathered great respect as theater managers, their ambition drove them to seek out ways of producing their own plays. The first step came in 1900. The brothers moved to New York City to buy Herald Square Theatre. At this time they were not yet producing their own plays, but they did turn Herald Square into one of the most successful theaters in New York (McNamara, B). Smash hits such as “Arizona” and “The Belle of New York” headlined the brother’s efforts. By 1904, after ten years in the business, they had acquired ten theaters. Their empire stretched from the Casino and the Princess in New York City, to the Hyperion in New Haven, Connecticut, to the Dearborn in Chicago (PBS). Around 1901, the brothers had also begun to produce plays of their own, with successful productions including “The Chinese Honeymoon” and “Emerald Isle” (1902). It appeared as if nothing was in the way. Then tragedy struck the Shubert’s. On May 12, 1905, at the age of 30, Sam Shubert died of injuries sustained in a train wreck near Harrisburg, Pennsylvania. At the time, Lee was ready to sell out to the Syndicate, another powerful theater company in the nation. The Shubert’s eventually regained their mission and fire, fought the Syndicate, and continued to become an extremely powerful force in the industry. This would just mark the start on what the Shuberts would accomplish. Broadway, a historical documentary on the theater industry from PBS summarizes the Shubert’s success the best:
In 1924 the brothers had 86 theaters in the United States alone; they were making $1 million a week in ticket sales; and they controlled 60% of the legitimate theater in the United States. In addition, they owned their own ticket brokerage, a dancing and singing school, and an enormous amount of real estate. They were also producing one quarter of the plays in America, and Lee Shubert was on the board of MGM. (PBS)
The Shubert brothers developed new theater districts all over the United States. They employed thousands people over the years and were partially responsible for the formation of Actor’s Equity. They had also turned theater into a large scale, commercial business which concerned itself with popular taste rather than art.
Lee died in 1953 at the age of 80. His brother Jacob died 10 years later at the age of 85. During their lifetimes, the Shubert brothers had produced over 600 shows and had booked over 1,000 shows within their numerous theaters (Encyclopædia Britannica). Undoubtedly the trio had a major impact in the theater and show business that would shape the United States of America for years to come.
In order to honor the brother’s enormous impact, the Shubert Archives were formed. In 1976, The Shubert Foundation began to organize the papers of the Shubert brothers in an effort to create a comprehensive archive. Brooks McNamara led the effort with archivist Brigitte Kueppers. They were able to collect more than six million documents related to the Shubert’s theatrical activities and integrated them into the Archives (The Shubert Foundation). Finally, in 2002, the Archive launched a database project with the intention of making the collection and its aids accessible to researchers online. Overall, the Shubert Archive collection contains more than a century’s worth of production designs, scripts, sheet music, photographs, business plans, and architectural designs. It has grown substantially over the years and continues to expand with more modern Shubert Organization materials (The Shubert Foundation). Currently, the foundation obtains its funding through the multiple theaters that they have their hand in. Also, they find a way to contribute to nonprofit organizations through their extensive grant program. The Shubert Foundation not only provides fantastic resources for the average researcher, but they are also intentional about giving back to the community.
Undoubtedly, the Shubert brothers were iconic figures in the New York history story. They set a precedence of what it took to be successful in their industry. Clearly their success and leadership has not been forgotten. The Shubert Foundation continues to exercise the same values and prestige that the brothers exhibited when they lived. I would suggest to anybody that is visiting New York to take a look at the Shubert Archives located at 149 W 45th St, or even visit or watch a show at one of the Shubert theaters. It really is a part of incredible history.

Work Cited
McNamara, B. (1990). The Shuberts of Broadway: A history drawn from the collections of the aaaaaShubert Archive. New York: Oxford University Press

(n.d.). Retrieved June 13, 2016, from http://www.pbs.org/wnet/broadway/stars/shubert-brothers/

The Editors of Encyclopædia Britannica. (n.d.). Shubert Brothers. Retrieved June 13, 2016, from aaaaahttp://www.britannica.com/biography/Shubert-Brothers

The Shubert Foundation - Home. (n.d.). Retrieved June 13, 2016, from aaaaahttp://www.shubertfoundation.org/