|Full name||Oscar Greeley Clendenning Hammerstein II|
|Know as||Oscar Hammerstein II, Hammerstein, Oscar, Ii, Hammerstein, Oscar Greeley Clendenning, II|
|Birth place||New York City, New York, USA|
|Lived||65 years, 1 month, 11 days|
|Height||6' 3" (1.91 m)|
Oscar Greeley Clendenning Hammerstein II sourcesrnh.com/bio/154/Hammerstein-II-Oscar
Oscar Greeley Clendenning Hammerstein II Biography:
After moving to Nyc and making a lot of money in the cigar business, in 1889 he invested in the building of the Harlem Opera House. In 1895 he constructed the Olympia Theater. He expired on August 1, 1919, in NYC. His parents’ oldest son, Hammerstein belonged to some large, middle class German-Jewish family. He along with his dad frequently battled, but Hammerstein found respite in his mom’s unwavering support of his musical interests.
Hammerstein disembarked in New York City 89 days afterwards, and shortly located custodial work in a cigar factory. A brilliant and ambitious lad, Hammerstein worked his way upward through the rankings; he was eventually promoted to factory supervisor. By 1874, he’d founded the U.S. Tobacco Journal, his own trade magazine. Hammerstein’s passion for theatre inspired him to also moonlight as a theatre manager.
In 1889, Hammerstein invested in the building of his first theatre, the Harlem Opera House. He’d already financed the building of more than 50 Harlem homes, and believed a theatre would vitalize the region by attracting crowds from uptown Manhattan. Toward this end, he hired big name performers including Edwin Booth and Lillian Russell.
The next year, Hammerstein constructed the Columbus Theater, a more casual place, and made himself its supervisor. He built his third musical place, the Manhattan Opera House, in 1893. Hammerstein kept admission prices in the Columbus low, in hopes of making opera more accessible to the ordinary man. The determination took a horrible fiscal cost. Because of this, Hammerstein had no option however to associate with variety show companies Koster & Bial. Continuous disagreements fuelled Hammerstein’s bitter animosity and eventually finished in dissolution of the partnership.
Sadly, Hammerstein poured so much cash to the Olympia that challenges, including filling most of the seats on a regular basis, left him financially tapped out yet again. By hook or by crook, he nevertheless was able to scrape together the funds to construct several more places in the early 1900s, such as the Manhattan and Philadelphia Opera Houses.
In 1910, Hammerstein’s stretched funds would eventually catch up with him. Having exhausted his other choices, Hammerstein subsequently moved to England, where he constructed an unsuccessful opera house in London. In the States in 1913, Hammerstein constructed the Lexington Opera House in Nyc, but the Metropolitan refused him the legal right to perform opera there. Hammerstein expired on August 1, 1919, in Nyc.