From the 75th anniversary program, attributed to John McDowell, former Secretary.

Local One's history seems to coincide with that of New York City. As New York expanded, so did its theatrical community. The New Theatre on Nassau Street opened on December 11, 1732. The New England and Boston Gazette reported the event as "news." There also appears to have been a playhouse or theatre in existence on Broadway. The population of the City (1730 Census) at this time was 8,622.

Castle Garden Theatre, 1825

Thirty years later the first accounting of wages paid to backstage personnel comes from a twin bill of "Othello" and "The Lying Valet." The stagekeeper, the highest paid employee, received 32 shillings ($4.00).

In 1792, the Philadelphia Shoemakers became the first craft union of record in America. In 1805, they elected to withhold their labor by means of a strike. Five members of the union were arrested, tried and hanged. The Republican Party made a conscious effort in the 1860s to win the votes of the working class. After winning the election, Lincoln gave labor the right to organize.

The first stage employees' organization was founded in November of 1863, at the home of Brother James Timoney in New York City. Originally named the Theatrical Workman's Council, its name was changed to the Theatrical Mechanical Association. On December 26, 1865, the T.M.A. was incorporated under a State legislative act entitled "An act for the Incorporation of Benevolent, Charitable, Scientific and Missionary Societies."

The Hippodrome, 1905

While the T.M.A. provided welfare benefits, there were still many labor problems. To correct these problems, a meeting was held with many of the 41 T.M.A. members on April 26, 1886, at 187 Bowery, where a new charter was drawn up. This was the beginning of the Theatrical Protective Union Number One. The new Charter's preamble to the Constitution states:

"We, the theatrical employees of the theatres of New York, deem it eminently right that we should organize for the development and improvement of our conditions, asking but a fair and just compensation commensurate with the service rendered so that equity may be maintained and the welfare of our organization promoted, accepting any wise, honorable, and conservative mediation as a proper adjustment of all difficulties that may arise."

This new organization joined with all other labor groups of the day including the Knights of Labor and later affiliated with the American Federation of Labor. May 1886 saw the formation of Knights of Labor lodges in New York City of Theatrical Employees #6802, Musicians #3916, #4193 and Stage Drivers #7172.

New York City's Metropolitan Opera House, 1905

The late 1880s also saw the organization of stage employees in the cities of Chicago, Cincinnati, and Pittsburgh, under the Knights of Labor banner. Despite many problems, the Knights of Labor achieved what no other American labor organization had succeeded in doing before the 1880s. It organized and unified the working class. On May Day, 1886, the Knights of Labor held a torchlight procession down Broadway to Union Square with 25,000 people to demand an eight-hour day and the end of child labor. About 350,000 workers across the country went on strike, culminating in the fateful Haymarket Square rally in Chicago, that led to the downfall of the Knights. Management had long ears and a longer blacklist. Stage employees could only be sure of recognition by fellow unionists with the assistance of a password that was changed every three months. The best paid stage employees of that era worked for 50 cents a day. Some received 25 cents. The men employed in the theatres worked 60 to 100 hours per week.

Securing a schedule of wages was difficult due to being in the amusement line. Thousands of men were more than willing to devote every night to handle the scenery for the privilege of witnessing the play. This was acceptable during the days of the primitive dramatic stage, but as dramatic art advanced the stock companies were replaced by traveling companies. The high standard of work by theatrical mechanics and stage employees became not only an important factor, but essential. The need for skilled craftsmen is what drove the cheap men and free amusement workers from the field.

New York's Herald Square, 1906

In the 1880s, theatrical managers paid chorus people and stage employees with "Trade Dollars." This practice was recorded in the New York Dramatic Mirror in August of 1880. "Trade Dollars" were originally issued by the United States to trade with the Indians and Chinese. Actually worth 88 cents, theatrical managers accepted these "Dollars" as the price of admission for use as wages. The employees took them, knowing they could be passed off to merchants.

Vaudeville was in full swing at this time and became a major employer of T.P.U. members. Vaudeville theatres were unique in the continuous shows and long hours. An unpaid service provided by T.P.U. members was in copyrighting an act's material. Stagehands were noted for their loyalties and vocalness. If a Vaudeville act would copy another act's routine and perform it, the backstage employees would say something, in no easy terms. The act would either drop the questioned material or face loud comments, or other mischief, from backstage during their performance. Many present day theatre traditions were formed during this time. Scenery was changed by a whistle cue, the stage mechanic would blow his whistle to signal commands to the other workers. Drops would fly in, scenery would move and props would clear. This is the reason whistling in the theatre is considered bad luck.

Tony Pastor's Theatre, New York

One of the first wage increases ever attributed to Local One occurred about 1888. A strike at the Bowery Theatre and a walkout at Wallacks Theatre, was followed by a strike at the Academy of Music on 14th Street. The conditions asked for were a dollar a show and 50 cents for each in and out. Strikebreakers were hired. Things reached a climax in favor of Local One when a "flat" toppled over on Louis James during Hamlet's soliloquy. Mr. James retired to his dressing room informing the management that he would not return to the stage until the professional stagehands were reinstated. They were.

Although New York City was the first theatrical center to organize a union, Chicago, Pittsburgh, Philadelphia, Brooklyn, Cincinnati, St. Louis, Denver, Syracuse, Buffalo, and Boston also organized. The catalyst had been the Columbian Exposition in Chicago which attracted theatrical mechanics from all over the Country. An added reason for the need of a union was the serious depression that faced the Country in 1893. There were more than 2 million men unemployed in that year, thrown out of work by the technological changes in industry and mass emigration into the United States. On July 17, 1893, representatives of those ten cities assembled at Elks Hall, New York, to join with their Broadway brothers in founding the National Alliance of Theatrical Stage Employees. There were sixteen delegates at this convention. Delegates from New York were brothers Philip Kelly and John G. Williams. Brother Williams was elected the first National Alliance president in that year. During the early days, leadership rotated almost automatically each year. In 1986, the now International Alliance was headed by Local No. One Brother Al DiTolla.

Times Square, 1933

Local One was not the only organization of theatrical workers in New York. The Theatrical Calcium and Electro Calcium Light Operators were issued a charter as Local #35 by the National Alliance. In the early years, lighting most shows was done with gas wing and border lights. Often accentuation or brighter light was required. This job was performed by calcium light operators who controlled a calcium and later an electrical calcium light from behind each wing. The calcium was nicknamed the Limelight, for the elements used to create a light source. Lighting departments of shows before the turn of the century consisted of the gasman and his assistant who were responsible for all border and wing lights. In the year 1919, Local#35 was amalgamated with T.P.U. Local One and Local Four.

In 1916, T.P.U. Local One began to put its union stamp (the "bug") on all scenery and equipment in its jurisdiction. Most scenery was being built in New York and sent out on the road. At this time New York was the undisputed center of the theatrical world.

Another View of Times Square, 1933

Property men and assistant property men had been members of Local One since its formation. The property man, needing assistance, hired clearers to help move and shift properties between scenes as well as the unwrapping and wrapping of props. In March 1908, the Clearers of New York City organized. The Clearers petitioned the I.A. for a direct charter. The petition was denied, for fear the clearers would demand that all assistant property men come from their ranks, thereby destroying the effective autonomy that existed backstage. By 1915, the clearers were admitted by the I.A. and given charter #390. In the year 1920, the clearers local 390 was amalgamated with T.P.U. Local No. One. This made it possible for Local One to demand and receive the same compensation in the property department as other departments.

Local 1-A Negro Auxiliary received its charter from the International Alliance on September 29, 1937. 1-A's jurisdiction was Harlem, where it controlled four theatres and dance halls. This local had 29 members. In 1955, T.P.U. Local No. One merged with Local 1-A to form the present Union. This led the way for the end of segregation in the International Alliance.

Times Square, 1959

1920 saw the invention of Radio. The new idea spread slowly due to technical difficulties and the sparsity of receiving sets but soon the idea of "something for nothing" took hold. Stagehands became involved as many theatres were used for broadcasts. General Electric announced in 1926 that it was developing a new device which would enable one to see and hear radio performers. The true development of television did not occur until after World War II. In 1948, Local One signed a labor agreement with the television companies. This opened up the television industry for the International Alliance.

Local One was one of the first theatrical unions to have pension, welfare, vacation and annuity funds paid for completely by management. It has always been a leader in the just demands of the working theatre trades. Its apprentice and organizational programs show Local One to be as innovative in its thinking now as its founders were in first creating a union.

Loew's Capitol, 1960

The members of T.P.U. Local No. One continue in the forefront of their profession and have earned many awards including a number of Tonys and Emmys.

We only hope to carry the torch lit by our forefathers in bringing enlightenment to our future. Shows may come and shows may go, but the men and women in the shadows behind the scenes remain to serve.

Cradled on the Bowery, this babe of labor toddled uptown along the roads of its yesterdays and its tomorrows, passing Castle Garden, Atlantic Gardens, Koster and Bails, Tony Pastors, the White Ways of Lower Broadway, the Yiddish Theatre, 14th Street, the Twenties, Herald Square, the Metropolitan Opera, Forty-Second Street and up Broadway. The Hippodrome, through the world of vaudeville, night clubs, legitimate theatre, burlesque, Roxy's and Radio City, radio and television.