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Arthur Hammerstein
Arthur Hammerstein
Arthur Hammerstein
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Arthur Hammerstein (December 21, 1872 – October 12, 1955) was an American songwriter, dramatist, playwright and theater manager.

Key Information

Biography

[edit]

Born and educated to a Jewish family in New York City, Hammerstein was the son of the theater impresario and composer Oscar Hammerstein I. Arthur started out as a bricklayer and plasterer,[1] working on projects with his father including the Victoria Theater and Manhattan Opera House.

In 1908 Hammerstein started working on becoming a producer, signing Italian singer Luisa Tetrazzini to the family's Manhattan Center and negotiating with Otto Kahn before moving to London in 1910. While there Arthur and his father had a disagreement with money spending and Arthur vowed never to speak to him again. With his father's support, Arthur embarked on his first production, Naughty Marietta.[2] Arthur's brother Willie Hammerstein died in June 1914, and Arthur took over management of the family's Victoria Theater. However, the theater was not financially viable and would be closed the next year. On its site, the first movie palace in Times Square, the Rialto Theatre, was built.[3]

Hammerstein was the producer of the Rudolf Friml operettas The Firefly (1912), Katinka (1915) and Rose-Marie (1924), which he collaborated on with his nephew, Oscar Hammerstein II. Arthur produced almost 30 musicals in 40 years in show business.[4]

During a performance of Tickle Me in 1920, Hammerstein was arrested for possessing what was thought to be whiskey during the Prohibition era, which later turned out to be iced tea. In 1930 Hammerstein was accused by a dance director George Haskell for assault[5] but the charges were later dropped and the two reconciled.[6] To search for better business opportunities, Hammerstein went to Hollywood to produce his one and only film The Lottery Bride, which was a failure and he returned to Broadway again. Hammerstein's last productions were Luana and Ballyhoo in 1930, which were considered failures. Hammerstein suffered bankruptcy in 1931 due to some musical failures[7] and went into retirement.

In 1925-1927 Hammerstein had built what is now known as the Ed Sullivan Theater at 1697 Broadway in Manhattan.

Hammerstein made an appearance as himself in an episode of the film series Popular Science in 1949. He was one of the writers of the song "Because of You," a major hit (#1 for 10 weeks) for Tony Bennett in 1951. Hammerstein wrote the song in 1940. It was used in the film I Was an American Spy (1951).

Personal life

[edit]

Hammerstein was married four times. He married Jean Allison in 1893. They had a daughter, actress Elaine Hammerstein, and were divorced in 1910. He remarried to Grace Weir months later; they divorced in 1915.[8] His marriage to actress Claire Nagle in 1919 ended with her death in 1921.[9][10] In 1924 Hammerstein was married to silent film actress and stage personality Dorothy Dalton.[11] Hammerstein died on October 12, 1955, from a heart attack at age 82.

He is interred at Woodlawn Cemetery in the Bronx, New York City.[12]

The Arthur and Dorothy Dalton Hammerstein House, the couple's former residence in Beechhurst, Queens, is a New York City designated landmark.[13]

References

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Arthur Hammerstein

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Arthur Hammerstein (December 21, 1872 – October 12, 1955) was an American theater , director, songwriter, and theater owner who played a significant role in early 20th-century Broadway by producing over 30 musicals and operettas, including major hits like Naughty Marietta (1910) and (1924). Born in to , a prominent and cigar manufacturer, and Rosa Blau Hammerstein, Arthur initially worked as a and alongside his father in constructing venues like the Victoria Theatre and the Manhattan Opera House. He entered the family theater business in 1906 as his father's representative and began producing independently in 1912 with Rudolf Friml's The Firefly, which marked the start of a prolific career yielding both commercial successes and financial setbacks. Hammerstein's most notable productions included Victor Herbert's Naughty Marietta, which premiered in 1910 and became one of the era's defining operettas, as well as High Jinks (1913), Katinka (1915), (1923), and the long-running (1924), which he produced and which featured a libretto by his nephew , grossing over $2 million in profits. He also owned and operated theaters, including the Hammerstein Theatre (later renamed the ), and contributed lyrics to songs, including the 1940 standard "Because of You" (music by Dudley Wilkinson). Despite his successes, Hammerstein mirrored his father's pattern of building and losing fortunes, declaring in 1931 after investing heavily in a theater to Oscar I; he retired from producing in 1932 but briefly returned in 1937 before shifting focus to inventions, such as a patented moisture-proof salt shaker sold by a firm. Married four times, lastly to actress from 1924 until his death, in his later years he lived as a gentleman farmer on his approximately 200-acre estate in , which he named Headacres. Hammerstein died in , at age 82, leaving behind a legacy as a key figure in the of American musical theater.

Early Life

Family Background

Arthur Hammerstein was born on December 21, 1872, in to a Jewish immigrant family of German origin. His father, , had immigrated from Stettin, (now , ), in 1864 at the age of 18, initially working in the industry where he invented a machine for tipping cigars and built a substantial fortune as a manufacturer. Oscar I later became a pioneering and , constructing the Opera House in 1889 and the Manhattan Opera House in 1906, which helped establish New York City's burgeoning theater district in the late . His mother, Rose Blau Hammerstein, was Oscar I's first wife, whom he married in 1868; she managed the household during the early years of the family's rise in New York society but died in 1879 at age 29, leaving young and his siblings under their father's care. The family resided in , where Oscar I's ventures in tobacco and provided stability amid his growing theatrical ambitions. Rose's early death marked a pivotal shift, as Oscar I remarried and expanded his family, but her union with him laid the foundation for the Hammersteins' entry into the cultural scene. Arthur grew up alongside several siblings, including his brother William "Willie" Hammerstein (1875–1914), a prominent vaudeville producer who managed the Victoria Theatre in , and other brothers such as Harry Hammerstein, who assisted in their father's opera enterprises. The Hammersteins formed an early theatrical dynasty, with family members collectively shaping New York City's entertainment landscape from the 1880s onward; notably, Willie's son, (1895–1960), would later achieve fame as a leading lyricist and librettist. This interconnected family dynamic immersed Arthur in the world of performance from childhood, fostering his eventual path in theater production.

Education and Early Work

Arthur Hammerstein received a limited formal education, likely attending public schools in , and there is no record of him attending college. Born into a family deeply involved in the theater world, his early years were shaped more by practical involvement in the than by academic pursuits. Around the age of 16, Hammerstein began his working life as a and , gaining hands-on experience in building trades that would later serve the family's theatrical enterprises. He contributed directly to his father's projects, including laying bricks for the Victoria Theater, which opened in 1899 as a house on Broadway. Seven years later, in 1906, he assisted in the construction of the Manhattan Opera House, a grand venue designed to rival the and showcase Oscar Hammerstein I's vision for affordable opera performances. These roles immersed him in the physical demands of theater development, fostering skills in amid the bustling New York theater scene. In 1910, amid escalating family business disputes with his father over theater management and finances, Hammerstein relocated to . There, he pursued independent work in and related fields for a brief period, distancing himself from the familial tensions. He returned to New York around 1911, ready to navigate his own path in the industry.

Career in Theater

Entry into Production

Arthur Hammerstein transitioned from a background in to in the late , leveraging his experience in building theaters to enter the family business under his father Oscar Hammerstein I's guidance. He assisted on his father's 1910 production of the Naughty Marietta, marking his initial involvement in staging musicals. Hammerstein made his debut as an independent producer in 1912 with The Firefly, an composed by with a by , which established their early partnership and ran for 120 performances, starting at the Lyric Theatre before transferring to the Casino Theatre. This success was followed in 1913 by his revival of the musical comedy The Geisha at the 44th Street Theatre, running for 52 performances and signaling his growing independence in selecting and mounting light s. In the 1910s, he produced approximately ten shows, emphasizing tuneful s and revues that catered to Broadway's appetite for escapist entertainment, including collaborations with Friml on works like High Jinks (1913) and Katinka (1915). Hammerstein also took on directing duties in some of his early ventures, such as the 1917 play De Luxe Annie at the , which he both produced and staged, running for 97 performances. His production efforts during this period were bolstered by family ties, particularly after his father's death in , which prompted a reconciliation among the Hammersteins and allowed Arthur to expand his role in the theatrical enterprise.

Notable Productions

Arthur Hammerstein's career as a producer was marked by a series of successful operettas and musicals, particularly in the and , where he championed romantic and adventurous themes through collaborations with leading composers and librettists. His productions often featured elaborate scores and stories that captivated audiences, contributing to the of American operetta. Over four decades, Hammerstein produced approximately 33 Broadway shows, with a focus on musicals that blended melody, drama, and spectacle. One of his earliest triumphs was The Firefly (1912), an with music by and by , which opened on December 2, 1912, at the Lyric Theatre and ran for 120 performances before transferring to the Casino Theatre. This production introduced Friml to Broadway as a major composer, launching his career with its tale of a street singer posing as a on a transatlantic voyage, filled with lighthearted romance and intrigue. Hammerstein's decision to hire Friml, originally intended as a replacement , proved pivotal, establishing a fruitful partnership that defined early 20th-century musical theater. Hammerstein continued his collaboration with Friml in Katinka (1915), a musical play with book and lyrics by , which premiered on December 23, 1915, at the 44th Street Theatre and enjoyed 220 performances. Set against an exotic backdrop involving a Russian inventor and romantic escapades in a harem-like environment, the show emphasized themes of adventure and forbidden love, highlighted by Friml's enchanting score including "Allah's Holiday." The production's success underscored Hammerstein's knack for selecting material that resonated with audiences seeking escapist entertainment amid I-era tensions. In the , Hammerstein's output reached new heights with (1924), produced by Arthur Hammerstein, featuring music by and , and book and lyrics by his nephew and . Opening on September 2, 1924, at the , it ran for a remarkable 557 performances, becoming one of the decade's biggest hits with its Canadian wilderness setting, Mountie-led plot of romance and mystery, and iconic songs like "." The show's enduring popularity, including international tours and revivals, highlighted Hammerstein's role in fostering family collaborations that elevated Broadway's musical landscape. Wildflower (1923), with music by and and book and lyrics by and , further demonstrated Hammerstein's producing prowess when it debuted on February 7, 1923, at the Casino Theatre, achieving 477 performances. This light comedy about a mountain girl's comedic rise in high society showcased Youmans' tuneful contributions, such as "Bambalina," and reinforced Hammerstein's emphasis on character-driven narratives infused with humor and heart. Hammerstein's Song of the Flame (1925), featuring music by and with book and lyrics by and , opened on December 30, 1925, at the 44th Street Theatre for 219 performances. Drawing on Russian revolutionary themes with vibrant Cossack dances and Gershwin's rhythmic scores like "Song of the Flame," the production blended political intrigue and romance, exemplifying Hammerstein's versatility in adapting European influences to American stages. Closing out the decade, Sweet Adeline (1929), a musical with music by and book and lyrics by , starred Helen Morgan and opened on September 3, 1929, at Hammerstein's Theatre, running for 234 performances. Set in the , it explored a barroom singer's bittersweet path to fame and love, with Kern's nostalgic melodies like the title song capturing the era's sentimentality and marking a poignant collaboration amid the looming . These productions, staged in theaters owned by Hammerstein, not only achieved commercial success but also advanced the integration of sophisticated music and storytelling in Broadway musicals.

Theater Construction and Ownership

Arthur Hammerstein began his career in the theater industry by assisting his father, , in the construction and management of several family-owned venues, including the Manhattan Opera House, which opened in 1906 and was sold in 1910 following financial pressures from competition with the . As a trained builder, Arthur oversaw much of the physical development for these projects, contributing to the family's expansion of opera and variety houses in New York during the early 1900s. In 1927, amid the post-World War I economic expansion that fueled a surge in Broadway theater , independently developed the Hammerstein Theatre at 1697 Broadway as a to his father. Designed by Herbert J. Krapp in a neo-Gothic style, the venue featured a lavish interior with a dome, stained-glass panels, and an adjustable accommodating up to 50 musicians, integrated into a 13-story brown and terra cotta office building to maximize revenue streams. The theater had a of 1,265 across two levels, reflecting the era's emphasis on grand, multifunctional spaces to capitalize on rising attendance from a growing . Although specific costs are not publicly detailed, the project aligned with the boom, where developers like invested heavily in opulent designs to attract audiences amid high employment and disposable income. Arthur owned and operated the Hammerstein Theatre from its opening on November 30, 1927, until 1931, using it to stage several of his productions during a period of theatrical optimism. The venue premiered his musical Golden Dawn on opening night, followed by others including Sweet Adeline in 1929, for which he served as owner and operator. In 1930, he presented Ballyhoo there, marking one of his final Broadway efforts before financial strain intensified. However, the 1929 stock market crash and ensuing Depression eroded the era's prosperity, leading to mounting debts; by 1931, a bank sought to foreclose on $1.3 million in mortgages tied to the theater, resulting in Arthur's loss of ownership and contributing to his broader bankruptcy filing with liabilities exceeding $1.6 million.

Other Contributions

Songwriting Efforts

Arthur Hammerstein, son of the prominent composer and theater impresario , was influenced by his father's background in music and from an early age, though he primarily channeled his creative energies into production rather than composition. Despite this familial legacy, Hammerstein's own songwriting remained limited, with his efforts often intertwined with his role as a of musicals. His most notable creative involvement came with the 1918 musical Somebody's Sweetheart, where he provided additional lyrics and music alongside Herbert Stothart, supplementing the primary book and lyrics by Alonzo Price and music by Antonio Bafunno. These contributions helped integrate original numbers into the show, which ran for 224 performances at the Central Theatre and Casino Theatre in New York. Hammerstein's songwriting gained wider recognition decades later with the ballad "Because of You," co-written in 1940 with composer Dudley Wilkinson, for which Hammerstein supplied the lyrics. The song achieved commercial success when recorded it in 1951, topping the for 10 weeks and becoming a signature hit that launched Bennett's career. Though Hammerstein occasionally incorporated his compositions into the musicals he produced, his primary legacy remained in theater management rather than sustained creative output.

Film and Business Ventures

In the late 1920s, as the rise of talking pictures began to impact the legitimate stage, Arthur Hammerstein sought new opportunities in Hollywood, signing a contract with producer to produce four films over two years, with full creative control and 50% of profits. His primary venture there was the production of The Lottery Bride, a directed by Paul L. Stein featuring an original operetta score by , starring as a Norwegian singer caught in a romantic triangle amid a mining camp setting. Co-produced with Schenck and released by , the film incorporated early sequences but proved a commercial failure, marking Hammerstein's sole completed and contributing to his retreat from the industry. Earlier, Hammerstein had experimented with revue formats as an extension of his theatrical interests, launching Hammerstein's 9 O'Clock Revue in 1923 at the Century Theatre Roof Garden in New York. Imported from and featuring a mix of sketches, songs, and dances, the production ran for only 10 performances, reflecting the challenges of sustaining such entertainment amid shifting audience preferences. By the early 1930s, with Broadway's operetta era waning due to the dominance of sound films, Hammerstein shifted focus away from active production, though he briefly returned to Broadway in 1937 with Between the Devil. He then pursued inventions, patenting a moisture-proof salt shaker in the 1930s that was sold by a Chicago firm. In 1949, he made a public appearance demonstrating his personal inventions—such as household gadgets—in the short documentary series Popular Science episode "J-8-4: Air Force Fire Fighters." This segment highlighted his post-theater pursuits in tinkering and innovation, portraying him as a retired producer exploring practical engineering.

Personal Life

Marriages and Children

Arthur Hammerstein's first marriage was to Jean Kent Allison on February 19, 1893, in . The couple had one daughter, Elaine Hammerstein, born on June 16, 1894, in , who pursued a career as an actress in both stage productions and silent films, appearing in titles such as The Midnight Express (1924). They divorced in 1910. His second marriage was to Grace Leila Weir, formerly Mrs. John A. Hoagland, on September 14, 1910, in . The marriage ended in divorce on September 4, 1915, in . Hammerstein's third marriage was to actress Claire Nagle on June 9, 1919. She passed away on November 11, 1921, in . His fourth and final marriage was to actress Dorothy Dalton on May 17, 1924. This union lasted until Hammerstein's death in 1955, and no children were born from any of his marriages beyond his daughter Elaine. Hammerstein's primary residence was the Wildflower House, a neo-Tudor mansion he commissioned in 1924 in Beechhurst, Queens (now part of the Whitestone neighborhood). Designed by architect Dwight James Baum at 168-11 Powells Cove Boulevard, the expansive home was built for Hammerstein and his wife, actress Dorothy Dalton, and named after his hit Broadway musical Wildflower. Featuring asymmetric massing, intricate brickwork, half-timbering, and a slate roof, it exemplified 1920s picturesque architecture and served as a key example of the area's early-20th-century theatrical enclave. The property was designated a New York City Landmark in 1982 for its architectural merit and historical ties to Hammerstein's career. Hammerstein sold the estate in 1930 during the onset of the ; it later functioned as the Clearview headquarters and a before falling into disrepair, suffering in the 1990s, and undergoing restoration as part of the Wildflower Estates condominium development. The original mansion remains preserved within the complex. In July 1930, Hammerstein encountered a legal controversy during rehearsals for his musical Luana at the Hammerstein Theatre. Dance director George accused him of simple assault, alleging that Hammerstein punched him in the face after Haskell reported a fight involving chorus dancer Harold Rand. Hammerstein was arrested, arraigned in Tombs Court, and released on $500 bail; he pleaded not guilty, claiming and testifying that Haskell had initiated the violence by "running into my hand," which reportedly broke Hammerstein's wrist. The case, along with related charges against Rand, proceeded to Special Sessions for trial amid testimony from cast members, including claims of a hidden bar in the theater violating . The charges were later dropped, and Hammerstein and Haskell reconciled. Hammerstein also faced family-related legal disputes later in life. In 1917, his stepmother, Emma Swift Hammerstein, sued him in to enforce an alleged agreement tied to his late father Oscar Hammerstein I's estate, seeking financial support and property rights. Similarly, in 1919, following Oscar's death, Emma sued Arthur again for unpaid quarterly installments under a family support arrangement. These cases highlighted ongoing tensions over within the Hammerstein family. Earlier, in , financial strains in the family business prompted a move to , where Arthur assisted his father in establishing the Opera House, though it exacerbated disagreements over spending.

Later Years and Legacy

Financial Decline and Retirement

In the late 1920s, Arthur Hammerstein's theatrical ventures began to falter amid economic pressures, including failed investments in productions that struggled to attract audiences as the stock market crash of 1929 ushered in the . His mounting financial difficulties culminated in a series of commercial disappointments, such as the musical Luana in 1930, which he produced and which ran for only 17 performances at Hammerstein's Theatre from September 17 to October 4. Similarly, Ballyhoo of 1930, another Hammerstein production that opened on December 22, 1930, managed 68 performances before closing on February 21, 1931, exacerbating his debts during a period when theater attendance plummeted nationwide. These setbacks led to Hammerstein's voluntary filing on March 26, , in Federal Court, where he listed liabilities totaling $1,649,136 against assets of merely $5.77, resulting in the loss of his theater properties, including the Hammerstein Theatre, which faced foreclosure by Manufacturers Trust Company on a $1.3 million . The economic downturn had severely impacted Broadway, with many producers facing , and Hammerstein's overextended investments in lavish operettas left him unable to recover. In April 1930, he had announced plans to retire after two more productions, signaling his growing disillusionment, though he persisted briefly into the early 1930s. Hammerstein attempted a partial comeback in 1932 as co-producer of The Man Who Reclaimed His Head, a by Jean Bart starring , which opened at the on September 8 but closed after 28 performances on October 1, marking his effective exit from active producing. He briefly supervised the revival of his earlier success in 1927, which ran for 41 performances at the Century Theatre from January 24 to March 5, but such efforts could not reverse his trajectory. In 1937, after a five-year absence, he announced plans for three new productions, but these did not materialize into sustained activity, leading to his full retirement from theater management. Post-retirement, Hammerstein turned to occasional songwriting, co-authoring the standard "Because of You" with Dudley Wilkinson in 1940, which later became a major hit for in 1951. In his retirement, Hammerstein pursued inventions, including a patented moisture-proof salt shaker that was sold by a firm. This marked one of his final creative contributions to entertainment, as he shifted focus away from that had defined his career.

Death and Burial

Arthur Hammerstein died on October 12, 1955, at his home in , apparently from a heart attack at the age of 82. After a long period of retirement from the theater, he had been living quietly in with his wife. He was survived by his fourth wife, the former actress , whom he had married in 1924; his daughter, Mrs. John Snyder; and a granddaughter, Dorothy. Hammerstein was buried at Woodlawn Cemetery in , New York.

Legacy and Recognition

Arthur Hammerstein played a pivotal role in the "Hammerstein era" of operettas on Broadway, extending the legacy of his father, , who pioneered opera houses and light opera in New York, while paving the way for his nephew Oscar Hammerstein II's innovations in integrated musical theater during the and . As a producer of romantic, European-influenced operettas, Arthur helped sustain the genre's popularity through the early , blending his father's operatic ambitions with the commercial demands of American audiences, thus forming a crucial link in the multi-generational Hammerstein dynasty that shaped musical theater. His influence extended to key composers, notably launching the Broadway career of in 1912 when he selected the then-obscure Czech as a last-minute replacement for on The Firefly, propelling Friml to stardom with subsequent collaborations like Katinka (1915) and (1924). This discovery exemplified Arthur's talent for identifying and nurturing talent, contributing to the vibrancy of during its peak. One of Arthur's most tangible legacies is the at 1697 Broadway, constructed between 1925 and 1927 as a to his father and funded by profits from his hit productions; originally Hammerstein's Theater, it hosted Broadway shows before becoming a studio in 1936, airing from 1948 to 1971 and serving as the home for from 1993 to 2015 and from 2015 to 2026, continuing to host live performances as of November 2025. The Hammerstein family's theatrical tradition extended through Arthur's daughter, Elaine Hammerstein, a prominent and stage actress who debuted on Broadway in her father's 1913 production High Jinks and starred in over 20 films for Lewis J. Selznick Pictures between 1915 and 1926, embodying the dynasty's cross-generational involvement in entertainment before her retirement upon marriage. Arthur's over 25 Broadway productions, many in the , underscored his underappreciated role in fueling the decade's theatrical boom, when musical output more than doubled amid post-World War I prosperity, through savvy investments in lavish stagings that capitalized on audience demand for escapism. His shone in theater ownership and , including the development of venues that enhanced Times Square's infrastructure, though financial risks later led to losses like the in 1931. While Arthur received no major individual awards, his contributions are chronicled in histories of Broadway and the Hammerstein family, recognizing his foundational work in and production; additionally, his 1924 Queens residence, the Arthur Hammerstein House at 168-11 Powells Cove Boulevard, was designated a Individual Landmark in 1982 for its neo-Tudor architecture and association with his career.

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  69. https://www.ibdb.com/broadway-production/rose-marie-10216
  70. https://www.nytimes.com/1937/10/04/archives/arthur-hammerstein-will-produce-3-plays-back-on-broadway-after.html
  71. https://hojishinbun.hoover.org/?a=d&d=tht19551013-01.1.1&
  72. https://www.nytimes.com/1986/06/08/theater/some-enchanted-mementos-of-the-hammersteins.html
  73. https://www.pbs.org/wnet/broadway/essays/operetta/
  74. https://www.preserveoldbroadway.org/rudolf-friml-1879-1972-bio/
  75. https://digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1354&context=research_scholarship_symposium
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