SHUBERT BROTHERS

(SAM S. (1876-1905),LEE(1873?-1953),J. J. (1878?-1963)

Levi, Samuel, and Jacob Szemanski were all born in Shervient, Lithuania, and all immigrated to the United States in 1882 when their family settled in Syracuse, New York. Americanizing their names to Lee, Sam S., and J. J. Shubert, they created a theatrical empire that bears their names over a hundred years after they bought the area touring rights toCharlesHoyt'sA Texas Steer(1894). Leading the way, Sam and Lee rented the Herald Square Theatre (and later, the Casino) and made a truce withA.L. Erlangerof theTheatrical Syndicate, allowing them to presentAugustusThomas'sArizona(1900). Among the stars of Shubert productions in their early years wereRichard Mansfield, Sarah Bernhardt, andLillian Russell. Within only a few years, the Shuberts managed to break the Syndicate's monopoly, amassing a theatrical chain larger than any other. In 1905, Sam, the dominant partner, died in a train wreck after which Lee took over management of their interests. J. J., who was more interested in staging productions, particularlyoperettasand musical comedies, left managerial tasks to Lee.

Among the Shubert stars between 1910 and 1930,Al Jolson(1885-1950) was their greatest discovery. He starred in a long series of musicals at their Winter Garden Theatre beginning in 1911, among themLa Belle Paree(1911),Vera Violetta(1911),The Honeymoon Express(1913),Dancing Around(1914),Robinson Crusoe, Jr. (1916),Sinbad(1918),Bombo(1921), andBig Boy(1925). Between their failed production ofThe Brixton Burglary(1901) and 1954, the Shu-berts produced a remarkable 250 Broadway productions, includingHeidelberg(1902),Widowers' Houses(1907),The City(1909),The Passing Show(1912),Ruggles of Red Gap(1915),Maytime(1917),He and She(1920),Blossom Time(1921),Artists and Models(first edition in 1923),The Student Prince(1924), andCountess Maritza(1926). Their principal New York theatres, the Winter Garden and the Princess, were seldom dark. The Shuberts were criticized for ruthless business practices, but they were also known to offer reduced rents to worthy productions or troupes struggling to make a go of it.