Adolf Dittman (was Dittmann)

This is going to take a while...

In Brownsville:  A Pictorial History, May 29, 1908 is the date written beneath a photograph on which Adolf sits on a horse in front of the theater.  Written on its windows on the left of the entrance is “Electric Theater” and “Teatro Electrico” on the right.  This might have been a first for audiences to see films shown in “tints and colors” as described in the Brownsville Herald newspaper briefs. 

Adolf had a collection of stage props he ordered from magician’s catalogs.  One of these, the “eerie producing skull”, could be fitted with hidden objects inside the skull and be “mysteriously” drawn from his top hat.  His tuxedo coat had many hidden pockets of various sizes to hide small objects such as coins, cards and handkerchiefs.  Many of his rare books on magic were written in English and German.  The largest prop is an ornately carved wooden table in Louis IV style.  Its legs are painted gold with carved lion heads.  It also has a secret drawer and openings on the tabletop for hidden compartments.[i]

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[i]   Historic Brownsville Museum archives:  June and Adolf Dittman Jr. Collection.  Adolf Jr. described his father’s coat with many hidden pockets in an interview May 5, 2008.

Names of our first theater owners remained hidden in microfilm for years.  But we know more about Adolf Frederick Dittman from the assortment of personal belongings his family kept for years then donated to a museum.  He was born March 10, 1877 in Berlin, Germany.  His parents were August and Frederika Arndt Dittmann and he was the eldest of five children.  The family immigrated to America in 1885 and eventually settled in Salt Lake City, Utah.  When he was old enough to seek his fortune, he plied his skill as a stage magician in Chicago, Boston and New York.[i]  He learned the process of printing to write and publish songs and music.  One song which he composed was “She Thought Her Love in Vain” (1901).  From his Dittmann Publishing House in Chicago he produced a 300 page 9^th edition of Romanzo Intermezzo and Skeleton Dance by Otoman Zar-Adusht Ha'nish in 1904.[ii]  His knowledge of printing and appreciation of the arts served him later in life.

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[i]   Interview with Adolf Jr. and June Dittman May 5, 2008.  The personal items saved by the Dittmans proved invaluable to the writing of this article as well as microfilm of the Brownsville Daily Herald at the University of Texas at Brownsville and Texas Southmost College library.

[ii] “She thought her Love in vain.” Words and music by A. Dittmann.  Arranged by R. E. Hanisch, Published by Adolf Dittmann (1901); Skeleton Dance and Romanzo Intermezzo by Otoman Zar-Adusht Ha'nish, Unknown Binding, Published 1904 by Adolf Dittman: http://www.gettextbooks.co.uk/author/Adolf_Dittmann   accessed July 30, 2009.  and  “Adolph Dittman” copy of unpublished essay by Ruby Woolridge (year unknown).

Billed as Professor Dittmann, Adolf was adept at card tricks and illusions.  One poster bill identified him as “The New Comet” and guaranteed a performance of “Enchanting Entertainment of High Class,” full of “Magic, Mirth and Mystery.”  The show was divided into five acts.  The poster loosely described miracles of magic, art and creations with the fourth act requiring absolute silence from the audience for Dittmann to demonstrate his “acquired ability with occult forces.”  Illusions of objects appearing from thin air and levitating instruments playing music by invisible hands were included in the grand finale.  Then he would mysteriously untie ropes and escape from the “mystic cabinet” by materializing in full light.[i]  The act was designed to amuse and instruct.  That is, he would reveal how certain tricks were done to assure audiences his illusions were not produced by supernatural forces.

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[i]  “The New Comet” double-sided poster printed by “T. Riddell.  Job Printer.  175 W 4th South St., Salt Lake City” from the June and Adolf Jr. Collection.

The Dittmann Theater was built at 1118 Washington St. during the summer of 1910 and would rein as the most frequented place for vaudeville and cinema.  Moving pictures attracted a broader audience and were a hot new trend in entertainment but they wouldn’t replace live entertainment immediately.  Adolf surely recognized this but he also had a strong desire to book vaudeville acts and plays.  It had a seating capacity for an audience of 600 with a 24’ by 47’ stage and 27’ high ceiling.

Ditman’s continued operating his two movie houses simultaneously.  Second run movies were shown at the Electric until late 1911 after Dittman announced he would show new films at both movie houses.

By mid 1910, Brownsville was estimated to have a population of 10,610.  Soon movie venues began cropping up in the downtown area.  Materializing during the early 1910’s were The Imperial, Star, Fox, Casino, Washington, Gem and Crystal Theaters.[ii]  Every one of these theaters was short-lived.

[ii] The Imperial announces its opening for October 23, 1909.  The Star Theater gave its “initial performance” on June 30, 1910 on ‘Washington street”.  Additional ads seldom appear; the last one being found for April 19, 1911.  The Fox opened April 6, 1912.  Ads for the Casino appear periodically from February 1912 to January 28, 1914.  Washington Theater ads appear from January 8 to October of 1914.  The Gem ads appear in January and February 1914. 

Robert Runyon photo of downtown diner with theatre poster at right.

Early movie poster with Dittmann print at bottom.

Dittmann and Runyon would have been friends in their time but we don't have a photo of them together.  I believe Adolf Dittmann took this 1913 photo of New York National Guard in McAllen, Texas and that is Robert Runyon in the photo.

Adolf Dittman Jr.

Adolf Dittmann is sitting far left at this Hollywood gathering for theater managers.

According to Adolf Jr., his father also took a few photos with Runyon.  That man looks like he's texting.

Dittmann filmed for Pathe Film silent news-shorts.  This film was seen all over the United States when they would show you news before a movie.