Archibald Selwyn(1877-1959)
- Producer
Archibald "Arch" Selwyn, the theater impresario who was one of the
founders of the Goldwyn Studios, was born Archibald Simon in 1877. As a
child he and his family, including older brother
Edgar Selwyn, lived in Toronto, Ontario,
before moving to Selma, Alabama, where his parents died. Arch followed
his brother to New York in the 1890s, where Edgar was establishing
himself as an actor.
Arch used his brother's theatrical connections to go into business with a loan from theatrical literary agent Elisabeth Marbury. He had acquired the rights to operate a Coney Island concession that required the purchase of a penny-slot-weighing machine, which he did with Marbury's money. After much frustration with the rusting machine, Arch and his partner garnered 1,300 pennies in one day from a Coney Island crowd mindful of their waists. The two partners promptly lost their loot, which was wrapped in a blanket, although they did recover it from a restaurant trash can. It was time for a new career for Arch.
In 1914 Edgar, Arch and future Broadway producer-director Crosby Gaige launched Selwyn & Company, Inc., a theatrical production company and play brokerage. In addition to producing plays, the company owned and operated Broadway theaters. The Selwyn Theater, which was built in 1918 on 42nd St. behind their six-floor New York City office building, was inaugurated on Oct 2, 1918, with the play "Information Please". The money for constructing the theater, which was re-christened the American Airlines Theater in the year 2000, was obtained by Arch from gambler 'Arnold Rothstein' (qv, the man who fixed the 1919 World Series (one of the inspirations for the character of Meyer Wolfsheim in F. Scott Fitzgerald's "The Great Gatsby," Rothstein pioneered New York's narcotics trade, in addition to being a gangster, swindler and political fixer. He financed the first of George White's "Scandals" in 1918. His henchman Nicky Arnstein was the husband of Fanny Brice, who appeared in the rival Ziegfeld Follies). Rothstein, who liked to date Broadway showgirls, relied on his gal pals to steer patrons to his gambling parlors.
The most popular play to appear at the Selwyn was Edna Ferber and George S. Kaufman's "The Royal Family," which burlesqued the Barrymore family. Opening on December 28, 1927, the play, which was produced by Broadway legend Jed Harris, ran for 345 performances. The Selwyns also built the Times Square Theater on 42nd Street in 1920. The theater opened with Edgar's own play, "The Mirage," which turned out to be a hit that ran for six months. The second play at the theater, Avery Hopwood's "The Demi-Virgin," ran for eight months. Eight of the 23 plays that followed these two inaugural hits were successful, and its boards were tread by the likes of Beatrice Lillie, Tallulah Bankhead and Robert Cummings. Gertrude Lawrence co-starred with the young Laurence Olivier and Noël Coward in Coward's 1931 hit comedy "Private Lives" at the theater. Other famous productions at the theater were "Gentlemen Prefer Blondes" in the 1926-27 season, "The Front Page" in 1928 and "Strike Up the Band" in 1930.
The Times Square Theater's exterior featured an open-colonnaded limestone facade that had an entrance for the Selwyn's Apollo Theater. Built in 1919 as a movie-cum-vaudeville house named The Bryant, it was taken over by the Selwyns in 1920 and rebuilt. The renamed Apollo was converted to a legitimate theater showcasing plays and musicals, sharing a single marquee with the Times Square Theater. The Apollo didn't have its first hit until 1923's "Poppy," starring W.C. Fields. The theater then was taken over exclusively for George White's "Scandals," a Ziegfeld Follies-like show that ran annually from 1924-31. The "Scandals" was famous for its chorus line of undressed showgirls.
This was the Jazz Age, a period that saw the maturation of the American theater. The first great American playwright, Eugene O'Neill, made his mark in the era. Many of the musicals and popular songs launched in the 1920s are still with us, though, ironically, most of the popular playwrights of the era, like Avery Hopwood (who once had five hits running simultaneously on Broadway) have been forgotten. It was the time of Damon Runyon's "Bloodhounds of Broadway," when men like Rothstein and the swindler Julius "Nicky" Arnstein, the real-life models for Runyon's Nathan Detroit and Sky Masterson, strutted their stuff in the theater district amongst the other Guys & Dolls. Flush with money from securities swindles and other dubious endeavors, they were anxious to launder their dirty money as well as rubs shoulders with the showgirls and well-heeled sheep they were born to fleece. Silent partners putting up the capital for the construction of theaters or the production of shows, they embodied a Promethean race of theatrical angels who stole the light of heaven and gifted it to Broadway, making it shine. The Jazz Babies were ecstatic, and the box office boomed. The apogee of the Great White Way, so called due to the proliferation of white light given off by the plethora of uncolored light bulbs on theater marquees, was the Broadway season of 1927-28, when Broadway featured over 250 productions in over 70 legitimate theaters. Broadway was the heart of popular culture, as the shows that debuted there would segue to neighborhood theaters in metropolitan New York, and then work their way out to the stock companies in the hinterlands, even penetrating to the sticks populated by hicks before the advent of the sound flicks. According to the book "Broadway" (1974) by "New York Times" drama critic Brooks Atkinson (for whom the Richard Mansfield Theatre was renamed in 1960), the traffic in the Times Square area was so intense, due to the conglomeration of taxis and trolley cars, that most people out for a night at the theater walked. The theaters were built close together in the district to create a kind of entertainment bazaar, enabling theatergoers to shop for a show to attend, much as modern moviegoers mull their choices at a multiplex. Walking from theater to theater, this crowd in evening dress provided audiences for less-popular works, as many shows had sold out. Theaters still holding empty seats sent batches of tickets to broker Joe Leblang to be sold at half price. Producers of hit shows often resorted to the practice of "icing," hoarding tickets and selling them through scalpers at a higher price, then splitting the profits. When Lee Shubert, the head of the Shubert theatrical empire, died in 1953, his safe unexpectedly held several million dollars ($1 million in 1953 is equivalent to approximately $6.6 million in 2003 dollars), likely the profits from icing. Broadway was hit hard by the Great Depression that came after the 1929 stock market crash. Attendance dropped off sharply in the 1930s (just as movie attendance would drop off sharply in the late 1940s and early 1950s, due to the inroads of television), and there were fewer productions mounted. The Chanin Brothers went bankrupt in 1933 and lost everything. The Shubert Theater Corp., the premier Broadway theater operator, went bankrupt in 1934, though the canny Lee Shubert proved to be the only bidder when the organization's theaters were auctioned worth, outfoxing his brother J.J.
As a new decade dawned, many theaters that once were home to legitimate productions converted to movie houses or retail space, while others were torn down. The Shuberts did manage to preserve many of Broadway's most significant theaters, but other impresarios like the Selwyns exited the business. The Apollo closed as a legitimate theater after the musical "Blackbirds of 1933" flopped. It then began showing movies, until it was acquired by the Minskys, who turned it into a burlesque theater from 1934-37. In 1938 it transformed itself into a movie theater specializing in foreign films, then evolved into a Times Square grindhouse, closing in 1978. It was reopened as a legitimate house with "On Golden Pond" in 1979, but now is just an empty shell.
In 1933 the Times Square Theater ceased to be a legitimate theater after the closing of the play "Forsaking All Others," starring Tallulhah Bankhead. Produced by Arch, the play opened on March 1, 1933, and closed after 110 performances. The theater was refitted as a movie house in 1934, as was The Selwyn that same year, before being converted into a retail store in 1940. The Selwyn degenerated into one of Times Squares' many double-feature grindhouses before being reclaimed as a theater in the 1990s, when the Wooster Group staged Eugene O'Neill's "The Hairy Ape" there in 1997.
The source of the Selwyn family's fortune wasn't solely the theater. To capitalize on Edgar's popularity as a Broadway actor and playwright, the Selwyn brothers started producing movies in 1912 through their All Star Feature Films Corp. Arch produced a film of Upton Sinclair's sensational expose "The Jungle" in 1914--The Jungle (1914))--with a script based on his sister-in-law Virginia Mayo's dramatization of Sinclair's novel. Mayo was a successful actress-playwright herself, who also wrote novels.
In December 1916 the Selwyns merged their movie company with that of producer Samuel Goldfish, creating the Goldwyn Pictures Corp. The symbol of the new company was a reclining lion, surrounded by a banner made from a strip of celluloid film, reading, in Latin, "Ars Gratia Artis" ("Art for Art's Sake"). Designed by advertising-publicity man Howard Dietz, who later became a Broadway lyricist and movie executive, it adorned the front gate of the studio's Culver City, California, production facilities, which ranked with the finest in Hollywood (the inspiration for the original "Leo the Lion" likely were the stone lions fronting the New York Public Library on 44th St., which was across from the All Star Feature Corp.'s offices).
Margaret Mayo and Broadway impresario Arthur Hopkins also were partners in the deal, but the dominant figure at Goldwyn Pictures and Goldwyn Distributing was Sam Goldfish. Goldfish, a founding partner of the Jesse L. Lasky Feature Film Co. in 1914, was forced out of the company in early 1916 when Jesse Lasky more closely integrated his production company with Adolph Zukor's Famous Players Film Co. The two firms would serve as the basis of Paramount Pictures. Goldfish, who had immigrated to Canada as Schmuel Gelbfisz before coming to the United States, liked the name of his new company so well, he adopted it as his surname, thus becoming Samuel Goldwyn.
Goldwyn Pictures rented studio space in Fort Lee, NJ, at the Solax studios, and then at the larger studios owned by the Universal Film Manufacturing Co. In September 1917, Goldwyn released its first movie, Polly of the Circus (1917), based on Margaret Mayo's 1907 play, starring Mae Marsh. In addition to Marsh, Goldwyn's stable of stars included Tallulah Bankhead, Marie Dressler, Mabel Normand, and Will Rogers. Its directors included Ralph Ince, Frank Lloyd and Raoul Walsh.
Sam Goldwyn dominated Goldwyn Pictures for three years, until he lost an ownership struggle in September 1920. He resigned and, tired of partners, became an independent producer for the rest of his career. Subsequently, the Goldwyn-less Goldwyn bought the Triangle Studios in Los Angeles and leased two more New York studios while ceasing operations in New Jersey. The company eventually was merged with Loew's Inc.'s Metro Pictures in 1924 through a stock swap, creating Metro-Goldwyn, which subsequently merged with Louis B. Mayer's Louis B. Mayer Productions. The Leo the Lion trademark would be adopted by MGM, and after being modified, would become one of the most famous and enduring trademarks in history. Under the guidance of Mayer and his central producer, former Universal production executive Irving Thalberg, MGM became the greatest studio in the world.
Arch's brother Edgar, who was the brother-in-law of MGM chief Nicholas Schenck through his second marriage to the former Ruth Wilcox, eventually became a producer at MGM and Mayer's editorial assistant. While Edgar concentrated on his career at MGM, Arch continued with his life in the theater, producing plays through 1939.
Between 1912 and 1942 Arch and Edgar, singularly and together, produced over 80 plays on Broadway and at least a score of motion pictures. Arch Selwyn died in Los Angeles on June 21, 1959, having outlived his brother and former business partner Edgar by 15 years.
Arch used his brother's theatrical connections to go into business with a loan from theatrical literary agent Elisabeth Marbury. He had acquired the rights to operate a Coney Island concession that required the purchase of a penny-slot-weighing machine, which he did with Marbury's money. After much frustration with the rusting machine, Arch and his partner garnered 1,300 pennies in one day from a Coney Island crowd mindful of their waists. The two partners promptly lost their loot, which was wrapped in a blanket, although they did recover it from a restaurant trash can. It was time for a new career for Arch.
In 1914 Edgar, Arch and future Broadway producer-director Crosby Gaige launched Selwyn & Company, Inc., a theatrical production company and play brokerage. In addition to producing plays, the company owned and operated Broadway theaters. The Selwyn Theater, which was built in 1918 on 42nd St. behind their six-floor New York City office building, was inaugurated on Oct 2, 1918, with the play "Information Please". The money for constructing the theater, which was re-christened the American Airlines Theater in the year 2000, was obtained by Arch from gambler 'Arnold Rothstein' (qv, the man who fixed the 1919 World Series (one of the inspirations for the character of Meyer Wolfsheim in F. Scott Fitzgerald's "The Great Gatsby," Rothstein pioneered New York's narcotics trade, in addition to being a gangster, swindler and political fixer. He financed the first of George White's "Scandals" in 1918. His henchman Nicky Arnstein was the husband of Fanny Brice, who appeared in the rival Ziegfeld Follies). Rothstein, who liked to date Broadway showgirls, relied on his gal pals to steer patrons to his gambling parlors.
The most popular play to appear at the Selwyn was Edna Ferber and George S. Kaufman's "The Royal Family," which burlesqued the Barrymore family. Opening on December 28, 1927, the play, which was produced by Broadway legend Jed Harris, ran for 345 performances. The Selwyns also built the Times Square Theater on 42nd Street in 1920. The theater opened with Edgar's own play, "The Mirage," which turned out to be a hit that ran for six months. The second play at the theater, Avery Hopwood's "The Demi-Virgin," ran for eight months. Eight of the 23 plays that followed these two inaugural hits were successful, and its boards were tread by the likes of Beatrice Lillie, Tallulah Bankhead and Robert Cummings. Gertrude Lawrence co-starred with the young Laurence Olivier and Noël Coward in Coward's 1931 hit comedy "Private Lives" at the theater. Other famous productions at the theater were "Gentlemen Prefer Blondes" in the 1926-27 season, "The Front Page" in 1928 and "Strike Up the Band" in 1930.
The Times Square Theater's exterior featured an open-colonnaded limestone facade that had an entrance for the Selwyn's Apollo Theater. Built in 1919 as a movie-cum-vaudeville house named The Bryant, it was taken over by the Selwyns in 1920 and rebuilt. The renamed Apollo was converted to a legitimate theater showcasing plays and musicals, sharing a single marquee with the Times Square Theater. The Apollo didn't have its first hit until 1923's "Poppy," starring W.C. Fields. The theater then was taken over exclusively for George White's "Scandals," a Ziegfeld Follies-like show that ran annually from 1924-31. The "Scandals" was famous for its chorus line of undressed showgirls.
This was the Jazz Age, a period that saw the maturation of the American theater. The first great American playwright, Eugene O'Neill, made his mark in the era. Many of the musicals and popular songs launched in the 1920s are still with us, though, ironically, most of the popular playwrights of the era, like Avery Hopwood (who once had five hits running simultaneously on Broadway) have been forgotten. It was the time of Damon Runyon's "Bloodhounds of Broadway," when men like Rothstein and the swindler Julius "Nicky" Arnstein, the real-life models for Runyon's Nathan Detroit and Sky Masterson, strutted their stuff in the theater district amongst the other Guys & Dolls. Flush with money from securities swindles and other dubious endeavors, they were anxious to launder their dirty money as well as rubs shoulders with the showgirls and well-heeled sheep they were born to fleece. Silent partners putting up the capital for the construction of theaters or the production of shows, they embodied a Promethean race of theatrical angels who stole the light of heaven and gifted it to Broadway, making it shine. The Jazz Babies were ecstatic, and the box office boomed. The apogee of the Great White Way, so called due to the proliferation of white light given off by the plethora of uncolored light bulbs on theater marquees, was the Broadway season of 1927-28, when Broadway featured over 250 productions in over 70 legitimate theaters. Broadway was the heart of popular culture, as the shows that debuted there would segue to neighborhood theaters in metropolitan New York, and then work their way out to the stock companies in the hinterlands, even penetrating to the sticks populated by hicks before the advent of the sound flicks. According to the book "Broadway" (1974) by "New York Times" drama critic Brooks Atkinson (for whom the Richard Mansfield Theatre was renamed in 1960), the traffic in the Times Square area was so intense, due to the conglomeration of taxis and trolley cars, that most people out for a night at the theater walked. The theaters were built close together in the district to create a kind of entertainment bazaar, enabling theatergoers to shop for a show to attend, much as modern moviegoers mull their choices at a multiplex. Walking from theater to theater, this crowd in evening dress provided audiences for less-popular works, as many shows had sold out. Theaters still holding empty seats sent batches of tickets to broker Joe Leblang to be sold at half price. Producers of hit shows often resorted to the practice of "icing," hoarding tickets and selling them through scalpers at a higher price, then splitting the profits. When Lee Shubert, the head of the Shubert theatrical empire, died in 1953, his safe unexpectedly held several million dollars ($1 million in 1953 is equivalent to approximately $6.6 million in 2003 dollars), likely the profits from icing. Broadway was hit hard by the Great Depression that came after the 1929 stock market crash. Attendance dropped off sharply in the 1930s (just as movie attendance would drop off sharply in the late 1940s and early 1950s, due to the inroads of television), and there were fewer productions mounted. The Chanin Brothers went bankrupt in 1933 and lost everything. The Shubert Theater Corp., the premier Broadway theater operator, went bankrupt in 1934, though the canny Lee Shubert proved to be the only bidder when the organization's theaters were auctioned worth, outfoxing his brother J.J.
As a new decade dawned, many theaters that once were home to legitimate productions converted to movie houses or retail space, while others were torn down. The Shuberts did manage to preserve many of Broadway's most significant theaters, but other impresarios like the Selwyns exited the business. The Apollo closed as a legitimate theater after the musical "Blackbirds of 1933" flopped. It then began showing movies, until it was acquired by the Minskys, who turned it into a burlesque theater from 1934-37. In 1938 it transformed itself into a movie theater specializing in foreign films, then evolved into a Times Square grindhouse, closing in 1978. It was reopened as a legitimate house with "On Golden Pond" in 1979, but now is just an empty shell.
In 1933 the Times Square Theater ceased to be a legitimate theater after the closing of the play "Forsaking All Others," starring Tallulhah Bankhead. Produced by Arch, the play opened on March 1, 1933, and closed after 110 performances. The theater was refitted as a movie house in 1934, as was The Selwyn that same year, before being converted into a retail store in 1940. The Selwyn degenerated into one of Times Squares' many double-feature grindhouses before being reclaimed as a theater in the 1990s, when the Wooster Group staged Eugene O'Neill's "The Hairy Ape" there in 1997.
The source of the Selwyn family's fortune wasn't solely the theater. To capitalize on Edgar's popularity as a Broadway actor and playwright, the Selwyn brothers started producing movies in 1912 through their All Star Feature Films Corp. Arch produced a film of Upton Sinclair's sensational expose "The Jungle" in 1914--The Jungle (1914))--with a script based on his sister-in-law Virginia Mayo's dramatization of Sinclair's novel. Mayo was a successful actress-playwright herself, who also wrote novels.
In December 1916 the Selwyns merged their movie company with that of producer Samuel Goldfish, creating the Goldwyn Pictures Corp. The symbol of the new company was a reclining lion, surrounded by a banner made from a strip of celluloid film, reading, in Latin, "Ars Gratia Artis" ("Art for Art's Sake"). Designed by advertising-publicity man Howard Dietz, who later became a Broadway lyricist and movie executive, it adorned the front gate of the studio's Culver City, California, production facilities, which ranked with the finest in Hollywood (the inspiration for the original "Leo the Lion" likely were the stone lions fronting the New York Public Library on 44th St., which was across from the All Star Feature Corp.'s offices).
Margaret Mayo and Broadway impresario Arthur Hopkins also were partners in the deal, but the dominant figure at Goldwyn Pictures and Goldwyn Distributing was Sam Goldfish. Goldfish, a founding partner of the Jesse L. Lasky Feature Film Co. in 1914, was forced out of the company in early 1916 when Jesse Lasky more closely integrated his production company with Adolph Zukor's Famous Players Film Co. The two firms would serve as the basis of Paramount Pictures. Goldfish, who had immigrated to Canada as Schmuel Gelbfisz before coming to the United States, liked the name of his new company so well, he adopted it as his surname, thus becoming Samuel Goldwyn.
Goldwyn Pictures rented studio space in Fort Lee, NJ, at the Solax studios, and then at the larger studios owned by the Universal Film Manufacturing Co. In September 1917, Goldwyn released its first movie, Polly of the Circus (1917), based on Margaret Mayo's 1907 play, starring Mae Marsh. In addition to Marsh, Goldwyn's stable of stars included Tallulah Bankhead, Marie Dressler, Mabel Normand, and Will Rogers. Its directors included Ralph Ince, Frank Lloyd and Raoul Walsh.
Sam Goldwyn dominated Goldwyn Pictures for three years, until he lost an ownership struggle in September 1920. He resigned and, tired of partners, became an independent producer for the rest of his career. Subsequently, the Goldwyn-less Goldwyn bought the Triangle Studios in Los Angeles and leased two more New York studios while ceasing operations in New Jersey. The company eventually was merged with Loew's Inc.'s Metro Pictures in 1924 through a stock swap, creating Metro-Goldwyn, which subsequently merged with Louis B. Mayer's Louis B. Mayer Productions. The Leo the Lion trademark would be adopted by MGM, and after being modified, would become one of the most famous and enduring trademarks in history. Under the guidance of Mayer and his central producer, former Universal production executive Irving Thalberg, MGM became the greatest studio in the world.
Arch's brother Edgar, who was the brother-in-law of MGM chief Nicholas Schenck through his second marriage to the former Ruth Wilcox, eventually became a producer at MGM and Mayer's editorial assistant. While Edgar concentrated on his career at MGM, Arch continued with his life in the theater, producing plays through 1939.
Between 1912 and 1942 Arch and Edgar, singularly and together, produced over 80 plays on Broadway and at least a score of motion pictures. Arch Selwyn died in Los Angeles on June 21, 1959, having outlived his brother and former business partner Edgar by 15 years.
