The Lost Union M. E. Church - 227-233 West 48th Street

 

When this photograph was taken in 1907, the church was surrounded by high-stooped brownstones.  photograph by Byron Company, from the collection of the Museum of the City of New York.

The congregations of St. John's Methodist Episcopal Church and the Bloomingdale Methodist Episcopal Church merged in 1893.  In April 1894, the trustees purchased "two three-story brick dwellings," as described by the Record & Guide, at 227 and 233 West 48th Street for $38,000.  The following month, architects Weary & Kramer filed plans for a "three-story brick church" to cost $60,000 on the site.  The total outlay for the congregation would translate to about $3.5 million in 2025.  George W. Kramer would take the reins for the project.

The cornerstone was laid on October 31.  It held numerous items, including that day's issues of several newspapers, a Bible and Methodist hymnal, and photographs of the trustees.  Seven months later, on June 2, 1895, the dedication services were held.

The New York Times remarked, "The edifice was crowded, and expressions of admiration of its interior architectural splendor were heard on all sides."  Kramer had produced a neo-Classical structure with 17th century precedents.  Its central, temple form featured double-height Ionic pilasters, arched stained glass windows and oculi.  Above the third floor, dominated by grouped openings, was a triangular pediment with neo-Classical carving.  Flanking pavilions, which held the two entrances, were decorated with carvings that echoed those within the pediment.

from The What, How and Why of Church Building, 1897 (copyright expired)

The affluence of the congregation was reflected in its professional choir.  On April 15, 1898, The Jewelers' Circular reported on the appointment of the "tenor soloist," Charles C. Rice.  He had been spirited away from the Church of the Epiphany.  The article said he, "is known in the ecclesiastical musical world as a 'pure English tenor' voice" and had trained "as a chorister in an English cathedral" and in the London Academy of Music.

The Union Methodist Episcopal Church was highly involved in missionary work.  On April 28, 1900, the New-York Tribune reported, "Industrial training was discussed at the Union Methodist Church, in West Forty-eighth-st., yesterday."  Missionaries who had traveled here from as far as Japan and India stressed the need to have organized industrial schools in underdeveloped areas.

A policeman surveys the street from atop of the church stairs.  photograph by Byron Company, from the collection of the Museum of the City of New York.

The following week, the newspaper reported, "The dawnings of Christianity in Darkest Africa were portrayed with striking effect at the Union Methodist Church," and on November 22, the New-York Tribune announced, "Work among the Chinese women and girls in San Francisco was described yesterday by Miss Margarette Lake at the annual meeting of the Woman's Home Missionary Society, New-York district, in the Union Methodist Episcopal Church."

Just 13 years after the structure was completed, on July 4, 1908 The New York Times reported that plans had been filed for remodeling the church.  They called for a new "ornamental facade of limestone, in Gothic design, with trimmings of terra cotta and bluestone."  For some reason, the major renovation (which would have cost half a million in today's dollars) did not go forward.

In 1912, the neighborhood was experiencing major change.  On June 29, The New York Times remarked, "The side streets in the Times Square vicinity have lost their old residential population and the district has become the theatre and hotel center."  In its June 1913 issue, The Edison Monthly underscored the changes, saying, "The Union Methodist Episcopal Church in West Forty-eighth Street is located in the centre of a block in the heart of the amusement district."

In its article, The New York Times mentioned, "Several offers have already been made for this church property."  But the congregation chose, instead, to remain.  And in an "if you can't beat them, join them" move, the Union Methodist Episcopal Church installed its own massive, Times Square-worthy lighted sign in 1920.  On August 27, The New York Times said, "The biggest electric church sign in the United States is being made for the Union Methodist Episcopal Church...It will aim to outshine all the advertisements of plays, movies, cabarets, gums, prohibition and other joys."

Two months later, on October 4, the newspaper reported, "Bishop Luther B. Wilson of the Methodist church last evening pressed a button and illuminated for the first time a great sign, twenty feet high, in front of the Union Methodist Church."  The article said, "The sign cost cost $3,000, and it is all paid for.  It will cost $1.50 an hour to keep it lighted."

from the collection of the New York Public Library

Continuing the church's adaptation to the neighborhood, Rev. Dr. John G. Benson opened its doors to theatrical figures.  In its August 1921 issue, Equity headlined an article, "Union Methodist Church Welcomes Actors."  Indeed, by now, said Rev. Benson, the "congregation [is] made up mostly of theatrical people and has received into its membership people of the profession."  He added, "Our Social center is always open for the theatrical people."

The social center that Benson mentioned was described by the Directory of Social Agencies that year as "A community center providing reading room, dormitories, noon luncheon for women, clubs, social clinic, movies, etc."  The dormitory, said Benson, "has been filled every night since it was open last October, and most of the time with theatrical girls."

Rev. Benson proactively battled against the prevailing Methodist opposition to the theater.  On March 5, 1921, he invited 50 students from Drew Theological Seminary to the Longacre Theatre to see The Champion.  "Most of them said it was the first time they had seen a stage play," reported the New York Herald.

At some point during the Great Depression, the electric sign was replaced with a much understated version.  via the NYC Dept. of Records & Information Services.

Theaters were devastated by the Great Depression as families spent their money on essentials rather than recreation.  On November 20, 1931, The New York Times reported, "An 'actor' mess kitchen where unemployed theatrical performers may dine without cost will be opened...in the basement of the Union Methodist church."  The Actors Kitchen and Lounge remained for years, although in March 1935 a charge of 30 cents for meals was enacted.  The New York Times remarked that between 300 and 400 guests were accommodated between 5 and 7:30 each evening.

With the Depression over and America fighting in World War II, the former Actors Kitchen and Lounge was revamped as the Servicemen's Lounge.  On May 3, 1943, The New York Times explained that the three-room lounge had been "entirely redone by a woman interior decorator."  The reading room had been renovated, as well.  "More than 100 men attend Wednesday evening, Thursday, and Saturday night dances," said the article."

Newbold Morris (left) and Postmaster Albert Goldman flank actress Audrey Christie as she cut a the Lounge's birthday cake in the Servicemen's Lounge in March 1944.  Army Life, March 1944.

The close relationship between the church and the theatrical community was evidenced on October 5, 1947.  The Actors Studio, which had been organized the prior evening, opened for business here.  It was the first home of the famous organization, which would move several times before settling permanently at 432 West 44th Street.

Two years later, the Union Methodist Episcopal Church was demolished, replaced by a parking lot.  Today the site is occupied by the 2009 Ritz Plaza.