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On April 8Th, 1888 Thirty Men Sign a Charter. It Is the Birth of Local No. 4

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On April 8Th, 1888 Thirty Men Sign a Charter. It Is the Birth of Local No. 4 On April 8th, 1888 thirty men sign a charter. It is the birth of Local No. 4.These thirty men will always be remembered for this historic deed and for their legacy of trade unionism, tradition and brotherhood. Local No.4 becomes a driving force in the formation and future success of the organization. A SHORT HISTORY OF THEATRICAL STAGE EMPLOYES LOCAL NO.4, IATSE By Peter J Fitzpatrick January 2009 INTRODUCTION Theatrical Stage Employes Local No.4, IATSE is an organization that has withstood the test of time for over 120 years. The Local No.4 story begins at the infancy of trade unionism in a city called Brooklyn. The early history of Local No.4 and the city of Brooklyn are a shared experience. The city of Brooklyn is incorporated in 1834. By 1884, Brooklyn is the third largest city in the U.S.A. only New York City and Philadelphia are larger. At this time, Brooklyn is a city creating a rich cultural tradition in the arts and sciences. Legitimate, Stock, Vaudeville and Burlesque theatres abound throughout Brooklyn. At one point, there are over 200 theatres in Brooklyn. It is a tragedy that hardly any of these theatres exist today. The Brooklyn Academy of Music, America’s oldest performing arts center is built in1861. It burns to the ground on November 30th, 1903. It is rebuilt and opened again in the fall of 1908. Today, BAM is the premiere performing arts center in Brooklyn and a major employer of Local No. 4 members. The Majestic Theatre, built in 1904 survives today as part of BAM {The Harvey Theatre}. When it first opens, it is considered one of the most important theatres in Brooklyn. Its early programming consists of out of town tryouts, pre-openings to Broadway runs and shows that couldn’t be held over on the New York stages. Later on it splits its programming between Legit, Vaudeville and picture shows. During the depression, the W.P.A. (Works Progress Administration) Federal Theatre produces numerous shows at the Majestic throughout the thirties. The Majestic eventually becomes a movie theatre. It is abandoned in 1968. BAM spends five million dollars to renovate the theatre and reopens it in October of 1987. The Majestic Theatre now the Harvey Theatre is once again the most important theatre in Brooklyn. The American Industrial Revolution in 1850 introduces assembly line techniques. Hugh factories reduce the production of goods into mechanical units. Labor becomes expendable and interchangeable; The American working class in the 19th century is at the mercy of the employers. Wages and conditions at the workplace depend solely on the whims of the employer. Life outside the workplace is deplorable and existence is day to day for many workers. Most of the early unions in America fail because of employer opposition. “It is common to prosecute labor unions as conspiracies in restraint of trade. This is a doctrine based on English common law, and places labor unions at an enormous disadvantage. It isn’t until 1842 when Justice Lempel Shaw, Chief Justice of the Massachusetts Supreme Court, hands down the historic decision that unions have a legal right to exist and did not constitute conspiracies.”(M.B Schnapper pg. 25) The earliest organization representing theatre workers in Brooklyn is the Theatrical Mechanical Association organized in 1866. It offers relief to sick members and assistance to deceased member’s families. On December 28th, 1869 the Noble and Holy Order of the Knights of Labor is born. “It grew into a dynamic labor organization that paved the way to many of the economic, social, and political gains American wage earners enjoy today.”(Schnapper, pg 130) In 1869, work begins on the Brooklyn Bridge, which when completed in 1883 irrevocably changes the future of Brooklyn. The early success of the Knights of Labor inspires workers all across the nation to organize into trade unions. This history of Local No. 4 will be separated into five time periods of 25 year intervals. The first period 1887 to 1912 relates the struggles of the Theatrical Progressive Union organizing theatres in Brooklyn and its part in the formation and early history of the National Association of Theatre Stage Employes now the IATSE. The second period 1913 to 1938 examines Local No. 4 and the Golden age of theatre in Brooklyn and Queens, the hardships of Local No. 4 during the depression and the beginning of the end of live theatre in Brooklyn and Queens as picture shows become the main feature. The third period 1939 to 1964 begins with the 1939 World’s Fair and ends with the 1964 World’s Fair. In between these two World Fairs are World War Two, the Korean War and the Cold War. Also during this period is a little invention called television. Local No. 4 would work on many of the live NBC shows at its Brooklyn Studios. Local No. 4 would construct many of the great shows for television and Broadway in its scenic shops during this time. The fourth period 1965 to 1990 beckons the return of Local No. 4 to live entertainment with a revitalized BAM and the advent of the outdoor rock show venue. The fifth period 1991 to the present chronicles the struggles of Local No. 4 efforts to organize new work in an increasingly hostile anti-union environment and reinvent itself as it as it enters its third century, the 21st. As you read this history, look beyond the written words. Think of the struggles, the sacrifice, the skills and determination of those members of Local No. 4 who lived and died throughout its history. Remember that during the bad times the glue that holds them together is their union. Honor those who went before us by carrying their mantle of unionism into future battles. Never forget the determination and skills that got us to where we are today. Strive to capture the same skill and determination so that one day you may pass them on to future members as they were passed onto you. 1887 TO 1912 On May 1st, 1887, the Brooklyn Eagle reports on new labor organization representing theatre workers in Brooklyn. “An organization of stage hands, property men, carpenters and machinists has been effected as the Theatrical Progressive Union. The union begins its control of the play houses on the 1st of June, after which time no employee will be allowed to have charge of more than one department; stage hand work will commence 15 minutes before the curtain rises, they are not to assist the fly man, and the system of employing actors, supers, and other incompetent persons to do the work of carpenters, stagehands, gas and property men in the theatres or with traveling companies is to be abolished forthwith.” (Brooklyn Eagle May 1st, 1887) The demands of the Theatrical Progressive Union are met with a dismissive attitude by the theatre managers. “All this is very fine no doubt, but the managers don’t think so. At a gathering the other day at which all the representative men were present, it was informally agreed that the fraternity would resist the encroachments and dictatorial attitude of the Theatrical Progressive Union.” (Brooklyn Eagle May 1st, 1887) The battleground for recognition becomes the Grand Opera House. “The members of the Theatrical Progressive Union are still agitating trouble between the managers of the Grand Opera House and their stagehands. They have issued the following circular” Messrs. Knowles and Morris proprietors of the Grand Opera House on the 12th day of November notified scene shifters employed at the rate of $1 per night, that on and after Monday November 14th, they would have to give their services each Monday morning without pay, and that if they did not they would lose their night work.” (Brooklyn Eagle January 15th, 1888.) A small headline in the Brooklyn Eagle on April 8th, 1888 reads: “Moving for Recognition” “The Theatrical Progressive Union will today hold a meeting for the purpose of considering such actions shall be deemed necessary to bring Messrs. Knowles & Morris to recognition of the rights of their scene shifters and stage hands.” On April 8th, 1888 thirty men sign a charter. It is the birth of Local No. 4.These thirty men will always be remembered for this historic deed and for their legacy of trade unionism, tradition and brotherhood. It is on July 17, 1893 that Brothers Henry H Harvey and James E. Walker as representatives of the Theatrical Progressive Union, Brooklyn, meet with the representatives of stage hands from N.Y.C., Boston, Chicago, Philadelphia, Pittsburgh, Denver, Buffalo, Syracuse and St. Louis at Elk’s Hall NYC. At this meeting they form the National Association of Theatre Stage Employes, later to be known as the International Alliance. The purpose of this alliance was to coordinate and protect on a national level, the jurisdiction and shared interests of these theatrical unions. Local No.4 becomes a driving force in the formation and future success of the organization. In 1897 Steeple chase Park opens in Coney Island. In 1902 Luna Park and then Dreamland in 1904 join with Steeplechase Park in Coney Island. On July 9-14th, 1900 Local No.4 hosts the 8th Annual Convention at the Brooklyn Athenaeum .Local 4 ushers the Alliance into the twentieth century. With the City of Brooklyn becoming the Borough of Brooklyn on January 1st, 1898, Local No. 4 is referred to as New York (B of B) Local No.4. “The eight annual convention was called to order by National President W.D.B. Wiggins at 9:55 A.M.
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