`bərt), theatrical managers and producers. The brothers were Lee (1871–1953), Sam S. (1878–1905), and Jacob J. (1880–1963). Originally from Syracuse, N.Y., they began as managers of touring companies. In 1900 they became managers of the Herald Square Theatre, New York City, thereafter managing and building theaters in New York and other U.S. cities. At first known for their productions of operettas, they introduced many stars to the public and staged many of the best-known revues revue, a stage presentation that originated in the early 19th cent. as a light, satirical commentary on current events. It was rapidly developed, particularly in England and the United States, into an amorphous musical entertainment, retaining a small amount of..... Click the link for more information. . Hurt by the depression, the Shuberts produced musicals and dramas in the 1930s and 1940s. From 1953 until his retirement (c.1959), Jacob was the sole head of Shubert Enterprises, with offices in the Shubert Theatre (named for Sam, opened 1913) off the famous Shubert Alley in New York City. The Shubert Organization, now owned by the nonprofit Shubert Foundation, continues to play a major role in the Broadway theater, owning 17 theaters and actively producing new shows; it also manages Washington, D.C.'s National Theatre and has other theatrical interests nationwide.
Bibliography
See J. Stagg, The Brothers Shubert (1968); B. McNamara, The Shuberts of Broadway (1990); F. Hirsch, The Boys from Syracuse: The Shuberts' Theatrical Empire (1998, repr. 2000).
Shubert Brothers
U.S. theatrical managers and producers. After emigrating from Russia with their parents in 1882, the two oldest brothers, Lee (1872–1953) and Sam (c. 1875–1905), leased theatres and presented plays in Syracuse, N.Y., in the 1890s. By 1900 Jacob (1880–1963) had joined the business, and the brothers leased their first theatres in New York City. Coming into conflict with the Theatrical Syndicate, which controlled U.S. theatrical bookings, they led an independent movement to fight the syndicate and prevailed after a long legal battle. After Sam's death, Lee and Jacob built theatres across the U.S. and came to own more than 60 legitimate houses and many vaudeville and movie theatres. They produced more than 1,000 different shows, including 600 plays, revues, and musicals. Theatrical unions such as Actors' Equity were formed in response to their often sharp business practices. Charged with monopoly practices in 1950, they sold a number of theatres in 1956 but retained prestigious houses in many cities.
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