Month: September 2019

As David Hunt continues to be part of Thomas G. Moses story, it is time to recap the life of this interesting character. David H. Hunt was born during September 1869 in Detroit, Michigan. His parents were Patrick  (b. 1851) and Anna (b. 1849), both Irish immigrants. Hunt was one of three children born to the couple in America, with his brothers being James (b. 1871) and Frances (b. 1886). To date, I have found no indication of how Hunt became involved in the theatre business, but by the age of 24 yrs. old he was both working for Sosman & Landis and working independently as a stage manager.

In 1893, Hunt was working in both Chicago and Detroit. On June 4, 1893, the “Detroit Free Press,” reported that Hunt was managing the benefit performance, “Caste, “for the St. Boniface and Jesuit churches new auditorium (page 15). The new Jesuit hall boasted a seating capacity of 650 with new stock scenery (“Detroit Free Press, June 20, 1893, page 5). The production featured Harry C. Barton of the Warde-James combination, Una Abel of the Rhea Company, Henry Wilkinson, Mrs. T Kennedy and W. H. Powers Jr. of the Nora Machree Company, and both Adelaide Cushman and John P. Barrett of the Glen-da-Lough Company. The article reported, “Manager David H. Hunt has returned from Chicago where he made arrangements for special scenery to be used throughout, and promises excellent staging.”

Hunt also worked for Sosman & Landis at this time. In 1894 Hunt convinced both Sosman & Landis to establish the theatrical management company of Sosman, Landis & Hunt in 1894. It is obvious that Hunt had been with the company for a while, but I have yet to discover when he actually started with the firm.  

The mid 1890s were a time of transition for Sosman & Landis; they were expanding and diversifying their interests. As Chicago theatrical scenic outfitters, they took the next step in securing a few opera houses and establishing a stock company. Sosman & Landis first tried their hand at theatrical management in Chicago, producing and managing the two electric scenic theatres on the rooftop of the Masonic Temple.   In addition to Sosman, Landis & Hunt, they invested in the American Reflector & Lighting Company, with Landis being one of the company founders. Previously they had founded a panorama company.

Sosman, Landis & Hunt’s first theatrical out-of-state management opportunity was in Cincinnati at the Pike Theatre. By 1897, Hunt was in the process of remodeling and redecorating the Pike Theater hiring the Chicago theatrical architect Sidney R. Lovell. In 1899, the “Chicago Inter Ocean” reported “David H. Hunt of Cincinnati, a member of the firm of Sosman, Landis & Hunt, the well-known theatrical managers, says: “Chicago can’t compare with New York as a theatrical town” (16 July 1899, page 14). An 1899 article in the “Los Angeles Herald” provided a little more insight into Hunt’s roll in the Sosman, Landis & Hunt theatrical management venture.  It was an interview with Hunt titled “How the Stock System Pays.” Hunt was interviewed and explained the stock company:

“The growth of the stock company idea in the west would surprise you easterners,” said David H. Hunt, of Sosman, Landis & Hunt, the other day. “I have charge of the Pike opera house In Cincinnati, and we are making more money with a stock company than we did when the house was given over to vaudeville and variety was the society fad. A haphazard stock venture will not succeed, but properly managed the scheme is a huge success, and the companies are now so plentiful that it has become a matter of difficulty to obtain players who are not only willing but capable of doing leading stock work. The lesser people are not hard to get hold of, for there will always be an excess of players, but to get good names to head the company is constantly becoming more difficult because of the advance of the idea. We have a big company, and not only get good plays, but we try to give for seventy-five cents as good a production as is provided by a visiting company for double the money. We have two scene painters and two assistants always at work, and we never use a rag of scenery for more than one play. [The scenic artists in Cincinnati at the Pike Theater for Sosman, Landis & Hunt were Thomas G. Moses and Fred McGreer.  McGreer is covered in installments #301-304.].”

Hunt continued, “We give the property man money enough to hire really good furniture and we have as good a stage manager as we can get, for we very early awoke to the fact that we could save money on this department of the work. A competent man will get all there is that is good in an actor, while an incompetent one will spoil a good player. Then we have found that we must spend a little money in royalties. It is a nice thing to have the old plays to fall back on, but a season which lists a succession of ‘East Lynne’ and ‘A Celebrated Case,’ with ‘Leah’ and similar plays to follow, will not be a remunerative one in the west, and we find that by laying out four or five hundred dollars for the use for one week of a play like ‘The Prisoner of Zenda,’ we cannot only get back the money we pay out, but enough more to make it worth our while to get the best. Of course, there is the constant study to be urged against the stock system, but to offset this, there is the avoidance of the discomforts of travel and to be able to settle down in a flat for a season instead of alternating between the one night stands and the sleeping cars, is a sufficient attraction to many to offset the fact that they will have to get up a new play each week instead of one or two for the season.”

Unfortunately, a series of lawsuits were filed against Sosman, Landis & Hunt around this time. They didn’t quite follow the rules laid out in various contracts. Both actors and authors contended that the firm violated agreements and took their cases to court. Sosman, Landis, & Hunt slowly loses steam around this time and Hunt began to flail around, starting to manage his own shows again. The 1900 census still listed Hunt as a stage manager and living with his parents in Detroit, at 151 Eighteen St in Detroit Ward 10, Michigan. Yet Hunt continued to work as a stock manager for the next decade before founding New York Studios, the eastern affiliate of Sosman & Landis.

In 1901, the “Detroit Free Press” made an interesting observation about Hunt on 15 April 1901 (page 4). An article about the Pike Theatre Company’s production of “Charity Ball” at the Lyceum reported, “The organizer and manager of this enterprise is David H. Hunt, a young man whose ideals are high and whose mental attitude toward the theater is not merely sordid. By this it is not meant that his work is entirely altruistic. There is a necessary commercial side of art, and Mr. Hunt knows that in order to continue along the lines he has followed since the beginning of his managerial career the support that comes only through the box office is essential. But he also knows that while he is a frankly confessed merchant of theatrical wares, it behooves him to offer the best, and to present them in an attractive manner. The public is well enough acquainted with his way of doing business to feel justified in expecting another season of honorable achievement on his part. It is quite within the limits of conservatism to say that the re-advent of his company is a distinct public gain, for it may fairly be assured that what is known as the popular-price theater can boast no better balanced combination of players than the cast that Mr. Hunt gave us last evening.”

In 1902, the “Evening Star” reported, “Stock was a new thing when Mr. David H. Hunt decided that vaudeville was not a success at his Cincinnati theater, and installed the first stock company there since the famous old days when Davenport, McCullough and other old-time stars had appeared with the ante-bellum stock companies in the smoky city.  Mr. Hunt was a young man, his company contained players who were themselves little known, and with the development that followed hard work and success the organization was brought to a standard of perfection.  Mr. Hunt early decided that pecuniary success would only result from artistic success.  He set about obtaining good plays and good players, with the result that people in Cincinnati accord the Pike Theater Company both consideration and affection.  For several years the company played entirely in Cincinnati, then tried Minneapolis and St. Paul for spring engagements, next added Detroit to their list of cities and now adds Washington, New York and Baltimore” (Washington, D.C., 13 Sept. 1902, page 22).

By 1903, Hunt married Angela Delores, an actress with the Pike Theatre Company. Their romance sprung up while she was under his management, with her forte being dramatic roles. The groom was described in the newspaper as “a Detroit man and widely known for his theatrical profession of the middle west as a hustling manager”  (“Detroit Free Press,” 21 May 1903, page 12). In 1905, the couple celebrated the birth of their daughter, Anna.

By 1906, Hunt is managing the stock company for the Chicago Opera House. Of this endeavor, a newspaper article reported, “David H. Hunt who has considerable experience in this particular branch of amusement business, will assume active management, and he has made definite arrangements with important Eastern managers whereby he will offer their successes at popular prices” (“Inter Ocean,” 19 August 1906, page 26). However, in 1908 Hunt has returned to solely managing his wife’s touring production with William Duvre and Harry English (Cincinnati Enquirer 30 August 1908, page 26). This Newspapers report that her tour remained under the personal direction of Hunt and who promoted her as the “best known stock leading lady” (Fort Wayne Daily News, 16 Feb 1911, page 5). Between 1908 and 1910, Hunt transitions from management to founder of a scenic studio.  His major investors for New York Studios include scenic artists and Adelaide A. Hunt, who becomes president of the firm. I have uncovered precious little about Adelaide as there were quite a few Adelaide A. Hunts at the turn of the century. At first I thought that Adelaide may have been a matronly relative with money.

However, 1925 US census records list David H. Hunt is living with his wife Adelaide A. Hunt and their daughter Patricia (age 4) in New York. Hmmm. Adelaide A. Hunt was still the President of New York Studios in 1919. Interestingly, the 1920 census listed Hunt as a commercial salesman for the scenic studio industry, still married to Angela, living at 1920 Oakwood Blvd. in Chicago, Illinois. His daughter with Angela was 15 years old by this time.

To be continued…

In 1912, Thomas G. Moses wrote, “Sosman left for the south on a vacation.  My work doubles.  We are doing a lot of work for the New York Studios – not much profit in it for us, as Hunt seems to think we should be satisfied with a small profit.  I have made a number of designs for him which I am pleased to do as long as we get the work.” 

Hunt was a long-term employee at Sosman & Landis, founder of the theatrical management firm Sosman, Landis & Hunt (est. 1894), and founder of New York Studios (est. 1910). New York Studios was considered an eastern affiliate of Sosman & Landis. In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros.  Hunt went with me.  I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” Moses did not get along well with David H. Hunt of New Yorks Studios and periodically mentions the discord in his diary.

By 1910, tensions were high between Moses and Hunt, escalating when Joseph S. Sosman leaves on a 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio, with shops in both Chicago and New York. Hunt was the company secretary and treasure, whereas Moses was responsible for the design, construction and installation of all projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and expected to run the business, but I wouldn’t allow it.  Mr. Hunt kept on the road most of the time.” After Sosman returned and assessed the studio’s state of affairs, Moses wrote, “I heard some reports as to what Hunt had reported to Sosman about my treatment towards him.  I got mad and wanted to quit.  Sosman wouldn’t listen to me.  I finally got cooled… I arrived June 25th.  Sosman had his doubts as to my coming back.” It was around this time that Hunt officially established New York Studios. Smart move, as it was beginning to appear that Chicago was not big enough for both Moses and Hunt.

The establishment of New York Studios is the beginning to the eventual demise of Sosman & Landis. Sosman steps out of the daily running of the company, leaving it to others, while investing in new business ventures such as New York Studios, managed by friend and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was not. Hunt was also working on many other business endeavors that distracted him from solely focusing on any one company, whether it was Sosman & Landis, Sosman, Landis & Hunt, or New York Studios projects.  Based on Moses’ description of Hunt and newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid scheme, hoping for maximum returns with minimal investments; it is all based on the underlings beneath him doing the work.

Over the years, Hunt had remained a thorn in Moses’ side for many reasons, including his poor treatment of good artists; prompting many to leave the studio. The exodus of scenic artists from Sosman & Landis included Moses’ good friend, John H. Young. Young went on to dominate the Broadway scene as a well-known designer.

Hunt had started with Sosman & Landis during the early 1890s, quickly worming his way into both Sosman & Landis’ confidence. Although I have yet to find an official start date for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition projects. By 1894, Hunt convinced Sosman & Landis to establish, the theatrical management firm of Sosman, Landis & Hunt. This was a secondary business venture; a company that leased theaters and founded touring companies in Cincinnati, Indianapolis and Detroit.  The firm kept Hunt busy as the primary manager for the endeavor, yet the Sosman & Landis studio staff from Chicago completed much of the necessary work. Moses’ diaries suggest that Hunt did not treat the artistic staff working for Sosman, Landis & Hunt well; scenic artists were swapped and directed to various projects like pawns on a chessboard, ready to be sacrificed at any point. Throughout this period Hunt had remained on the administrative end of the studio, always finding the public spotlight to share his great wisdom on a subject.

By 1910, Hunt also talked Sosman into investing in a new business venture – New York Studios. That year, Moses wrote, “Hunt had started a New York studio in New York City and he expected us to do a great deal of work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29^th  Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company. Now there were two scenic studios to consider, and only one Moses. In the 1919 Adelaide A. Hunt was still listed as president of New York Studios, with Edward Morange as Vice-President and David H. Hunt as treasurer, still supplying theatrical goods. Office locations varied from 29^th to 39^th to 95^th Streets. Many scenic artists worked for New York Studios including John H. Young, William F. Hamilton, Victor Higgins, William Smart, Art Rider, and Al Dutheridge to name a few.

New Yorks Studios was listed as the eastern affiliate of Sosman & Landis, whereas Sosman & Landis were listed at the western offices of New York Studios. Studio stamps on the back of some designs at the University of Minnesota’s Performing Arts scenery collection list the New York Studios “Home Office” at 328 West 39^th St. N.Y. There are other New York Studio designs that link designs to their  “Chicago Office.” The Chicago Office for New York Studios was located at 1022 Consumers Building, separate from the main offices of Sosman & Landis on Clinton St.

Sosman & Landis Studio and New York Studios were two very separate entities. Although they shared work and scenic artists, Moses hints that New York Studios always got more out of the relationship than Sosman & Landis, always taking advantage of the situation.

Between 1910 and 1912, Hunt and New York Studios were repeatedly mentioned in several newspaper articles across the country. One particular article concerned an electrical apparatus that enabled one man to handle sixty-five drops. Hunt was part of a group interviewed about the innovation; again his being in the right place at the right time. Hunt was chumming around with Martin Beck (manager of the Orpheum Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social networking and always falling in with the right crowd.

In regard to Hunt keeping company with Beck, Carson and Vincent in 1910, I am including a section of the group interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star” quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical appliance which makes it possible for one man to handle sixty-five drops. It operates everything from the stage curtain to the back, gives absolute fire protection and does the work of an average of twenty stagehands. One man can operate it. It looks good to me, and if further tests prove it as successful as the indications are here we will install in all the Orpheum Theatres. ‘The apparatus for handling drops, consisting of ropes and counterweights, has been the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum house. ‘Mr. Bailey has perfected, the first invention, bringing the stage mechanism up to date. It has been a field neglected by inventors.’

By 1911, newspapers reported, “Theatrical men and others in Denver have organized a $500,000 corporation to manufacture a mechanical device, which, it claimed, will reduce the number of stage hands needed in a theatre by three-fourths, at least. The new corporation is called the Bailey Fly Rail Machine Company. It is incorporated under the laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the inventor of the device. He worked on it several years before he announced that it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W. Considine and other vaudeville managers, met in Denver and saw a demonstration of the apparatus. They appeared to be highly pleased with it. The names of A. C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft appear at the prime movers in the matter of incorporation. Mr. Bancroft is an attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,” 18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem to have vanished into thin air, as did Hunt’s association with the endeavor.

What remains significant in terms of theatre history is that Hunt was there, part of the vaudeville managers who gathered to see Bailey’s invention. He was certainly a mover and shaker.  I will continue with David Hunt’s story tomorrow.

To be continued…

In 1912, Thomas G. Moses wrote, “In May I went to Grand Rapids, Michigan, to paint an asbestos curtain from a scaffold – it was a bad job to do, but as usual, I got something out of it and it pleased the manager.  I saw a number of old friends.  One of the men that I knew in the orchestra thirty-five years ago, told me of one of my girl friends, Jennie Wilson, who was a clerk in a music store, selling sheet music when I knew her at the time.  She was still there.  I thought I would call on her.  One evening I walked down to the store and was going in.  I saw her back of the counter near the window, the same place, but what a change in her – stopped, almost white hair and wrinkled face, but the same black eyes.  I didn’t have the nerve, so I turned and walked away.  I felt afraid I might not be welcomed – what a ravisher of good looks is our old friend ‘Father Time.’ One that never deserts us  – with us from start to finish.”

Some of Moses’ old stomping grounds were in Grand Rapids, Michigan. Although promised to Susan “Ella” Robbins in Sterling, Illinois, he certainly maintained a social life as he traveled about the country. At the age of 19 in 1875, Thomas G. Moses found himself “out of work and very little money on hand.”  He managed to secure a job as a train boy, working the run from Grand Rapids, Michigan to St. Joseph. His work for the railroad left him well traveled and well fed, but yearning for artistic work and a better income. While waiting for his train to depart from Grand Rapids one day, Moses strolled about town and wandered into Powers Theatre.  Of his visit to Powers Theatre, he wrote, “I went in and found an artist at work on the paint frame.  I called up for permission to go up.  I found that I knew the artist – he was from Chicago.  He had an Odd Fellow Hall to decorate and needed help.  I agreed to quit my job within a week and help him out.  I did the thing I thought was best and Christmas found me very busy on all kinds of decoration.”

By the spring of 1876, Moses was known as a decorator of fine homes in Grand Rapids, completing one project after another.  In July he had even received the contract to do the decoration on Pearl Street’s big arch.  While completing this project, Moses met a Frenchman named Wardus who was decorating St. James Catholic Church. Wardus was in desperate need artist and contracted Moses. The project also called for a good figure painter, and the couple placed a newspaper advertisement. After receiving numerous responses, they selected Tom Brown, an Englishman from New York. They also hired an assistant, a young local by the name of John H. Young.  Moses wrote, “We three, the same age, roomed and chummed together and we had a fine time.  And, as I remember, we did some pretty good work.” Wardus began advertising Moses, Brown and Young as the “Three young Roman Artists,” with Moses recalling, “We didn’t look it – we were all quartered at a cheap hotel and we met a great many young people.” It is likely during this time that Moses met Jennie Wilson, the clerk at the music store who was still working there in 1912.

To be continued…

In 1912 Thomas G. Moses wrote, “January 15^th the big furnace at the studio fell over and started a fine fire – a loss of about $2,000.00, a week’s delay in repairs and getting started. I went to Baraboo in the meantime to see Ringling Brothers and close for another big spectacle.  Mr. Al Ringling took me through the winter quarters of the animals, which was also very interesting.  Feeding time for the lions, tigers and all the cat family was a noisy time.  Watching the training for the elephants was also very interesting.  The immense chain and derricks they have to use to teach the elephants to stand on their heads was strong enough to lift a battleship.  A great deal of care is given to all the animals, much more than is given to the men that attend the animals.  The Ringlings have their own car shop and big paint shops, and everything is taken care of here except scenery and wardrobe.  They are very busy getting ready for the next season; making contracts for all supplies at every town they visit, and they certainly have some system.”

In winter, Baraboo, Wisconsin, was home to exotic and their caretakers. Both Ringling Bros. Circus equipment and animals were cared for during their off-season, from November until April of each year. When Moses visited Baraboo during January 1912, the town had increased to include approximately 117 Ringling Brothers’ Circus employees. From late fall to early spring, the Ringling brothers planned for the upcoming season, designing new shows and working out the logistics. Winter was a time for preparation, training and hard labor as the off season provided an opportunity to design new spectacles, assemble costumes, select new acts, and rehearse animals. A team of writers developed news stories for spectacles that would open each show.

Of the 1912 Ringling circus, the “Richmond Palladium and Sun Telegram” advertised, “This season, in addition to their promised array of aerial, acrobatic and arena marvels the Ringling Bros. have produced a gigantic spectacle, Joan of Arc, on a monstrous stage erected in the bog top. There will be twelve hundred people taking part in all, three hundred ballet girls and large chorus. This is said to be the most sumptuous pageant every presented in the country. It created an enormous sensation at The Coliseum in Chicago”  (6 May 1912, Richmond, Indiana, page 3). Sosman & Landis provided the new scenery that premiered at the Chicago Coliseum.

Later in 1912, Moses wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for the Ringling Bros. grand circus spectacles, also known as “Specs.” Specs were visual spectacles involving hundreds of participants, a short dramatization that was added to the parade of animals and performers.  Albeit the production time was relatively short, the scale was of epic proportions.

Moses worked directly for Al Ringling, the eldest of the brothers who was in charge of hiring and supervising the circus performers during his lifetime. He was also the one responsible for contracting scenery and other specialty items for the shows, the main visionary for the group. He would later plan and construct the Al Ringling Theatre in Baraboo, again hiring Moses of Sosman & Landis to provide the scenery.

Each year, the Ringling Brothers presented some new feature as the traveled from coast to coast. In 1905 Moses designed a setting for “The Field of the Cloth of Gold.” Advertisements reported, “The Vast Main Tent of the Ringling Brothers World’s Greatest Shows, wherein are presented the Superb Circuses and Hippodrome Displays, is converted into a huge, hundred-fold theatre for the presentation of the gorgeous, brilliant spectacle, the Field of the Cloth of Gold.” Of Moses’ scenic contributions, “The Washington Post” reported “The scenery is massive and brilliantly painted to show the crystal palaces, fairy structures, golden tents, and other flashing and picturesque features of this famous plain, ‘The Field of the Cloth of Gold’” (The Washington Post, 5 May 1905, page 8).

Ringling contracted Sosman & Landis to manufacture spectacle settings each year, but it was solely Moses who worked with Al during the design phase. By 1912, Moses was a well-known scenic artist and designer, eagerly sought after by many well-known personalities, including Al Ringling. Although times were changing and new studios continued to pop up across the nation, Sosman & Landis still dominated the theatre industry and were known as giants in their field at this time.

To be continued…

In 1912, Thomas G. Moses wrote, “January 15^th the big furnace at the studio fell over and started a fine fire – a loss of about $2,000.00, a week’s delay in repairs and getting started.” That is the equivalent of a $53,000 loss today, no small fire.  However, with the fabric and other flammables stored in the studio, the damage could have been far worse.

Moses’ record of the studio fire is an opportune moment to contemplate some practical considerations of running a scene painting studio in Chicago during 1912, such as making the binder for paint. In 1912, stage scenery was painted with a combination of dry pigment (powdered color) and size water (diluted animal hide glue/gelatin).  The dry pigment was transformed into a paste and then mixed with size on the scenic artists’ palettes before applying the paint.  The type of paint used by Moses and his colleagues included only three ingredients: color, water and binder. All were kept separate until just prior to application, an ideal way to store paint with an indefinite shelf life. Today’s paint uses the same three ingredients, and then some – other additives for shelf life, flexibility, etc.

Handling any paint requires an understanding of both the product and usage. Manuals not only train artists, but also may sell a particular product. In 1916, scenic artist Frank Atkinson discussed the use of size in his publication, “Scene Painting and Bulletin Art” (1916, page 154). He wrote, “The medium for binding distemper is known as ‘size,’ or sizing. For making it, gelatin is preferred, although the best grade of White Cabinet Glue answers very well and is most commonly used. Drop four or five pounds into the cauldron, cover it with water, and fill the water vessel two-thirds full of water. Apply the heat, and when the glue is melted you will have extra strong size. One dipper full of strong size with four dippers of clear hot water will produce working size.” Atkinson worked for Sosman & Landis during the early twentieth century, so his description of the process is likely the same used at many paint studios at this time.

Depending on the strength of the size, there is a tendency for it to gel. Even the perfect ratio of water to strong size will gel if a paint studio gets cool, hence, keeping the studio warm with a big furnace. The other option was to keep the size warm, but this was a bit tricky since you don’t want the glue to scorch. Making and storing unused size is like a juggling act, where all of the balls need to keep moving in the air without one hitting the ground. The smell of rotting glue is when a juggling ball hits the ground. Now in the case of Sosman & Landis, averaging the production of 4 drops a day, the size barrel was never left full for long. The key to painting with size is rapid turnover, where size water is constantly being mixed and replenished for scenic artists’ palettes.

Over the years, I have done quite a few experiments with size water, studying the strength and storage; all the while understanding that size water should really be mixed daily. Just as dry pigment palettes are prepared in the morning, preparing size each day is quite easy and takes about the same amount of time.

The greatest complaint among older artists is the rancid smell of old size. It is an organic compound that will spoil, no surprise to anyone. But like old food, there is a point when you throw it out instead of still using it. There are many ways to prevent the size from rotting and smelling like a dead animal. I have successfully kept size for over a month without any noticeable odor, you just have to understanding this little science experiment that you are creating.

The container is the first issue. Plastic and metal are not good long-term storage containers. Glass or glazed pottery (porcelain) containers are the best options, as nothing will leach into the size. I learned this from a chemist who specializes in hide glue and technical gelatin.

The container should never be tightly sealed, as this starts a little science experiment. Loosely draping the top with size, or fabric, allows the size to “breathe” and prevents contaminants from building up in the storage container.

Finally, keeping size at a cool temperature will cause it to gel, but it also preserves it like many organic substances. Gelled size just needs to be warmed up again prior to use.

Discussing the dry pigment painting process and cooking of size is nothing new or unique to our industry. There were a variety of publications and articles describing the scene painting process. As the use of dry pigment was gradually replaced with pre-mixed products, paint manufacturers and distributers took it upon themselves to include directions in their product catalogues. Bob Foreman recently shared a section about paint in a 1964 Paramount Theatrical Supply catalogue (http://vintagetheatrecatalogs.blogspot.com/…/paramount-thea…).
In the section on “Scenic Paint,” there was an article written by Mr. Wayne Bowman, College of William and Mary, Norfolk 8, Virginia. Bowman’s article was placed immediately below a brief description of Paramount’s scenic paints, dyes and the necessary cast-aluminum glue pot for evenly heating size. The catalogue offered “regular colors” and “prepared colors,” adding that “regular colors are more economical.”

Wayne wrote:
“For general stage use, the most satisfactory painting is done with dry scenic colors mixed with size water. The scenic colors cannot normally be obtained locally, but through theatre supply houses, such as Paramount Theatrical Supplies.” I was reminded of a conversation that I had with Italian scenic artist, Umberto di Nino, this summer. He explained the clients who wanted the best quality scenery paid for it to be created with dry pigment, whereas those without the substantial budgets used pre-mixed paints. Dry pigment is a superior product. This says a lot, as there is a visible difference of dry pigment scenery under stage lights, especially LEDS. I was able to see the difference when attending a CITT session last month where various lighting instruments were compared on paint samples. There were both dry pigment and pre-mix paint samples. In every case, the dry pigment had a greater depth and vibrancy, regardless of the lighting instrument or lamp.

Wayne’s article in the 1964 article continued: “Size water is a mixture of water and glue. Ground glue is most commonly used. The glue must be melted by covering with water and heating in a double boiler. In most scene shops, a water bucket or lard can is used for the water, and the glue is placed in a somewhat smaller container. It is good practice to place a block of wood under the glue container, so that it will not scorch if the water should boil dry. As a general rule, size water consists of one part glue, by volume, to sixteen parts of water. Since glues vary in their properties, it is necessary to test size water in this manner: wet the thumb and forefinger in the size water, touch them and then separate them. They should feel slightly sticky. If not, add more glue.”

When theatrical supply companies stopped adding instructions about dry pigment, the use went down. When demand decreased, the product was removed from many theatrical supply catalogues. The same can be said for any specific painting product; if a client is unsure how to use it, the demand goes down and then the product is discontinued by the distributor. If the product is difficult to obtain and shipping prices are high, it is less likely that the client will risk purchasing the product.

I have to wonder if that is why the use of house paint for scene painting has continued to increase over the years. The false perception that it as more expense and dangerous, combined with either the difficulty in quickly obtaining the product and expense shipping rates. For smaller institutions, it is cheaper to use, and people are willing to sacrifice the latex or acrylic sheen for convenience.

Finally, many people have used paint from a hardware/lumber store; the same cannot be said for scene paint. Many people default to a product that they are most familiar with and is easily obtainable. When the majority of academic institutions switch to house paint, storing gallons of latex from the local lumber store instead of scenic paint, the theatrical paint manufacturers will have a problem. Those students carry their training out into the professional world. Unfortunately, this trend has already started; the use of inappropriate paints for stage scenery is gaining ground at many schools.

To be continued..

Here is the last post about Universal Scenic Studio before returning to the life of Thomas G. Moses in 1912.While tracking down information about Universal Scenic Studio, I discovered an interesting article describing the use of miniature stages in 1931. This is the same year that Thomas G. Moses also built his electrified miniature stage model, featuring Masonic scenery (Blue Lodge, York Rite, Scottish Rite and Shrine settings).

Universal Scenic Studio, Twin City Scenic Co. and the American Theatre Supply Co. submitted theatre models displaying painted scenery and drapery to the Sioux Falls City Commission during the spring of 1931.

The “Argus-Leader” reported “Stage Equipment Studied By City; Contract is Let” (Sioux Falls, 30 March 1931, page 10). I am posting the article in its entirety as it provides a wealth of information about the scenic studio bidding process at this time. This is one example of vendors educating clients during a bidding process, so that the clients understand what they are buying.

“The city commission this morning received an intensive course of training in stage equipping, stage setting and stage building, when representatives of the Twin City Scenic Co., Minneapolis; Universal Scenic Studios, Milwaukee and American Theatre Supply Co., Sioux Falls, set up miniature stages fully equipped, explained grand boarders, tormentors, teasers, oleos, work curtains, sheaves, lines, trims, counterweights and the like. For nearly two hours, Mayor Burnside’s office was changed into a scenic studio while representatives of the companies bidding on the equipment of the coliseum stage showed and explained their wears. The contract for equipping the stage was awarded to the Universal Scenic Studios on its bid of $3,690. The Minneapolis company bid $4,567.50 and the Sioux Falls company $3,975. Velours, asbestos, canvas and equipment for stages were explained to the commission in rapid fire order by each representative in turn. When the course of study was over, the city commission could at least tell the difference between a wood wing and an oleo and a work curtain and a sheave. The mayor’s private office at times took the look of an art studio ready for an exhibition as case after case of scenes for curtains were displayed. Again it looked as though it might be a salon of a modiste, as the many types of material were draped in their many colors about the office. The miniature theatre, with their full equipment, even to lights, would have delighted the heart of almost any child, or adult for that matter, and held the attention of the commissioners. The exhibitions were a distinct diversion from the regular routine duties of the commission, and the noon-day whistles were all which cut short the training courses. The meeting was adjourned until 2 o’clock this afternoon when the contract was let.”

To be continued…

On May 14, 1922, “The Leavenworth Times” reported that Universal Scenic Studio was creating new scenery for the Abdallah Shrine in Leavenworth, Kansas; both a permanent set for the space and a touring version when the Shrine visited other cities.

Here is the article in its entirety:

“’The Crescent is the official Shrine organ, published in St. Paul, Minn. A story in the May number of the publication, which follows, several of the special drops are described but the one that interests Leavenworth people the most and the one with which all are familiar, has been overlooked. This is the woods scene, taken from a photograph of Shrine Park, taken from the lake, looking south toward the bog dam that was constructed by the Fair organization. This scene is quickly recognized by all who have been inside the temple.

Of the other scenes, The Crescent, under the caption ‘Abdallah’s Stage Settings’ says:

It is safe to say that no Shrine temple in North America will possess more magnificent scenery for staging ceremonials that will Abdallah of Leavenworth, Kansas.

The Crescent man has viewed the scenic sets in the making, and if the Abdallah stage stuff is not

‘real class’ then Mohammed was a bum showman.

It just happens that the scenery is being made in St. Paul, where The Crescent mixes with the other saints and that Noble Boyd P. Joy is the man who is making it at Universal Scenic Studio, and those facts gave The man to take chance to see the stage equipment.

We wanted to say that before going ahead with this yarn, and to add that this story is being written, not as a paid advertisement, but as an appreciation of what is being done for Abdallah and her nobility to enjoy.

And that’s that.

Out of 4,000 yards of canvas and 4,000 feet of lumber, coupled with the many gallons of various colored paints, by artists who know their business, Noble Joy is creating reproductions of Meccas, the palaces and the Caliphs, and other views of equal importance to the story of the ritual.

Beginning with the asbestos curtain, showing an asbestos scene, every figure life size, and running through all the stages of the ritual scenes, are being made to fit the enormous stage out n Leavenworth, wit its 58-foot opening, and to truly present Arabic life on the desert as it is – or was when the Prophet was on earth. The asbestos curtain is simply enormous – it weighs half a ton. The picture runs through the entire width and height of the proscenium arch and shows the arrival of the caravan at the oasis at the hour of evening prayer. Over on the left is a low wall well and opposite it the followers of the Sheik appear to be busy in the formation of a camp while the chieftain of the tribe is kneeling on his prayer rug. In the distance appears the desert, with a glimpse of the pyramids showing through the haze. It is a splendid picture, and he wanted it without borders that usually are used to frame such a view – it stands out boldly for just what it is, an Arabic camp.

One cyclorama which must be all of 200 feet in length will encircle the stage, except across the front, while another complete stage setting includes a view of the sacred city from a minaret on the right. The tower has a balcony for the use of Muezzin, and on the opposite side are set pieces representing buildings along the street, with bazaars, etc.

The palace scene is made with set pieces, the drop at the rear being made to carry sliding doors. Through that opening the Potentate will make his entry.

The set pieces include tents, sphinxes, pyramids, palm and date trees, throne, and a whole mess of other things, and all so braced an arranged that they ‘stay put’ when required on stage, but can be quickly removed.

The Abdallah stuff really includes two complete sets of scenery, one for permanent use at the new Leavenworth mosque, and the other to be taken along when the temple visits other cities in the jurisdiction.

The scenery is to be loaded into a car and be delivered and place in the mosque not later than May 15, and from the amount of labor-saving machinery being used on the job, it will likely accomplish it.”

The Abdallah Temple was chartered March 28, 1887. In 1910 the Abdallah Shrine purchased the old Crawford Grand Opera House, originally erected in 1880. Located at the corner of Shawnee Street, south side, between fifth and sixth streets, it was extensively overhauled and became the well-known Shrine Temple until 1921. In 1921, a new Temple was erected on the lots just west of the original one. At a cost of approximately $200,000, the stage was an integral feature to the building with the new scenery from Universal Scenic Studio of St. Paul, Minnesota.

The Shrine was known as the playground of Freemasonry. After a Mason’s arduous study in the Blue Lodge (first three degrees of Freemasonry), he continued his study of the Craft in either the York Rite or Scottish Rite. This labor was a pre-requisite to joining the Shrine, although not any more.  However, even in 1921 there was an option if men didn’t want to take the time or money to join the York or Scottish Rite that culminated in the Shrine; they joined a the Grotto. For those Masons not interested in the continued study in the Scottish Rite or York Rite, the Mystic Order of the Veiled Prophets of the Enchanted Realm (M.O.V.P.E.R. Grotto) was an option and considered the “poor man’s Shrine.” Back to Leavenworth and Abdallah Temple.

1921, Abdallah membership reached 4,500 with its jurisdiction extending over nineteen counties in the northeastern part of Kansas. At this time, Abdallah Shrine maintained a band and a patrol unit at Leavenworth, with ceremonials held several times during the year; Abdallah events drew in large numbers of men from Leavenworth and the surrounding districts. The Abdallah Shrine even owned the park southwest of the city, formerly known as the Leavenworth County Fair Association Park. The park included bathhouses, a dancing pavilion, racetrack and other places of amusement, a perfect gathering location for Masons and their families.

To be continued…

For the past few posts, I have explored the appearance of Joy & Cannon Scenic Co., established by Boyd P. Joy and Gerald V. Cannon in 1916. Joy founded a second studio only two years later – Universal Scenic Studio. At the time, Cannon was enlisted in the U. S. marine Corps as their first camouflage artist, therefore Joy & Cannon Scenic Co. lay dormant, but it had not yet closed it doors. Joy & Cannon Scenic Co. would sporadically continue business after the war and appear in various newspapers throughout the 1920s.

In regard to Universal Scenic Studio, the firm was first founded in South Dakota, but moved to Minnesota by 1920, appearing in city directories. By 1928, Joy moved Universal Scenic Studio, Inc. to Milwaukee, Wisconsin.

An interesting article was published in the “Argus-Leader” on March 22, 1919: “Sioux Falls has an organization which is making a real contribution to making the theater of today different from the theater when it began.  There wasn’t any scenery and the nobles who had seats slept through the plays; the rest of the populace stood up and used its imagination. The scenic artist of today has made possible the attractive drop curtains and varied rear and side drops which make for half the attractions of today. And the Universal Scenic Studio of Sioux Falls, on East Tenth Street, under the direction of Boyd P. Joy, is providing for this section of the northwest products of the best experience of a man who was for a number of years connected with the best studios of New York and since coming west a few years ago has become one of the recognized leaders in scenic art production. This institution is working with the National Engraving company, under the same management, with the engraving department continuing the work of Mr. Worsick and Mr. Williams, under the direction of W. P. Hamilton, formerly of the Chicago Evening Post engraving department and for 16 years connected successfully with the St. Louis Post-Dispatch, News-Tribune, and Des Moines Register and Leader. The first big work the new company is anticipating is in the line of soldier souvenir books. The company reports 60 men in the field now collecting data and photos for these booklets. The building is being enlarged and within 90 days the managers claim they will have an up-to-date electrotyping plant in operation which will give employment to a number of people who will become permanent residents of Sioux Falls, and work with the new equipment being introduced to produce the best in art, with Sioux Falls the center of development.”

After Sioux Falls, Joy returned to St. Paul and was listed the president of Universal Scenic Studio, Inc. in the St. Paul City Directory. He then moved to Milwaukee, still functioning as the president of Universal Scenic Studio. A catalog from the Milwaukee branch of the Universal Scenic Studio was found among the personal belongings of Victor J. Hubal, Sr. Hubal worked for both Joy & Cannon Scenic Co. and Universal Scenic Studio in St. Paul. Lance Brockman copied catalogue during the 1980s. I am including photographs of Brockman’s copy today. Although some of the images are poor, it provides a good glimpse into Universal Scenic Studio, Inc., Milwaukee.  

The prologue of the Milwaukee Universal Scenic Studio catalog states, “We make no effort here to give you a great number of illustration of various designs for stage scenes and sets; these may be had on request. We aim to cover the stage equipment field from the time it decided to build a stage, until it is completed, equipped and ready for use – and to this end we offer in the following pages some important suggestions for the correct construction of a properly built stage and methods of installation stage equipment.”

The second paragraph of the catalog’s Prologue addresses “Service,” stating, “An important part of any business is its service to the buying public. Ours includes the making of specifications covering stage scenery and operating equipment to fit your individual stage and its special requirements. We make no charge for this service. It is yours at request.”

In terms of “Prices,” the catalog notes, “All stage scenery is made to fit the individual requirements of and stage and price depends on size, materials and design. By mailing us the enclosed blank properly filled out, you will enable us to quote intelligently and definitely on your requirements.”

At the end of the Universal Scenic Studios catalog, the “Epilogue” includes a personal note from Boyd P. Joy, president of Universal Scenic Studio, Inc. of Milwaukee.

“We have endeavored to make clear to you in the preceding pages – First, the importance of lighting – next, the desirability of properly equipping your stage with curtains and scenery that is well designed, well made and correctly installed, secured from a firm well and favorably known, that has a background of experience and a plant capable of producing the very best obtainable in this line.

We sincerely trust your trip through our studio – following the various processes of the work from raw lumber to the finished product delivered and installed – has been worth while and that we may have helped even in the smallest way to clear up some lack of knowledge on your part as to what “Stage Scenery” is all about. When we have done this we are repaid for our effort, but let us not drop each other here. Remember we are anxious to help if we may and we solicit your future inquiry and giving you of our most courteous consideration and prompt response.

Thank you, Universal Scenic Studio, Inc.

Boyd P. Joy

President”

Universal Scenic Studio consistently appears in various articles over the next few decades, surviving the Great Depression. They were often rewarded contracts after submitting the lowest bid, completing with many other scenic studios at the time, including the Twin City Scenic Co. of Minneapolis. Whether is was scenery and stage machinery for city halls, public schools, opera houses, vaudeville theaters, or fraternal buildings, Universal Scenic Studio managed to stay in the game. Tomorrow, I will examine a Masonic job completed by Universal Scenic Studios for Leavenworth, Kansas.

To be concluded…

Boyd P. Joy and Gerald V. Cannon founded Joy & Cannon Scenic Co. The studio first appeared in St. Paul Directories in 1916. Yesterday, I explored the life of Joy. Today, I look at the life of G. V. Cannon, who was not only a scenic artist, but also the first camouflage artist of the United States Marine Corps. He held the world record for this work during his lifetime and was recognized for it.

I have uncovered very little about the Cannon’s early life. By 1915, however, he was living at 4144 38^th Ave S. in Minneapolis, Minnesota. Much may have to do with the itinerant life of many scenic artists.

On Dec. 22, 1917, the “Dickinson Press” mentioned Joy & Cannon in the article “Stage Scenery is installed in New Rialto Theatre” (Stark City, ND Dec 22, 1917). The article reported, “The stage scenery and effects have been put in place in the new Rialto theatre during the past week of the personal supervision of the artist who painted the curtains, G. N. [sic.] Cannon of the Joy & Cannon Scenic Co., St. Paul. The drop curtains are as follows: Asbestos, advertising front curtain, street scene, rose garden scene, wood scene, parlor and kitchen curtains. The scenic work has been done in the new modern art, stippled urban effects, lately inaugurated in the scenic work of large theatres in the east. The effect is very odd, but highly pleasing to the eye.” This is the earliest mention that I have encountered to date about the contemporary spattering technique. I find it interesting that it was called “stippling” at the time.

Shortly after the Joy & Cannon Scenic Co. opened, Cannon on another project for the U.S. Government during WWI.  I came across and article that I find absolutely fascinating about not only Cannon, but also mentioned the history of camouflage painting. In 1950, the “Star Tribune” published an article on Gerald V. Cannon entitled, “Minnesota’s ‘Little Marine’ Just Keeps Growing” (5 Nov. 1950, page 21). I am posting the article in its entirety as it has great significance within the history of American scenic art.

“There’s a line in one of the censored verse of ‘Mademoiselle From Armentieres’ which goes ‘The little marine he grew and grew.’

The boys hereabouts seem to think that if a line ever applied to anybody in real life, it applies to Jerry Cannon.

More sedately, he’s Gerald V. Cannon, a scenic artist by profession who still makes up an occasional marine corps float or a spectacular sign. Its come to be a habit through 33 years of association with the corps.

Cannon will be present at the corps 175^th anniversary dinner Friday night at the Nicollet hotel. Governor Youngdahl, Mayors Hoyer of Minneapolis and Delaney of St. Paul and various other functionaries also will attend, along with wives and mothers of marines now in service.

He now is national service officer for the Marine Corps league, the only veterans’ organization incorporated by act of congress. He is also state service officer under the auspices of the department of veteran’s affairs.

In that job, he is but carrying on a practice built up on his own time between two wars. Cannon was a marine in World War I. Prior to that, he had been called upon to organize the first unit to specialize in the brand new art of camouflage. Cannon gathered together a half gross of scenic artists. When they had learned what they had to know, they were split up among the services. Cannon chose the marines and began an extra-curricular career from which he never since has been separated for long.

After the war he helped found three marine groups, each of which perished through inaction. But Cannon made it his business to keep in touch with marines and marine veterans and to pull what wires were necessary to help them.

He became a sort of special in veterans’ rights and made up for his small stature by fast talk and aggressiveness.

When World War II came along, Cannon had retired from the reserve as a captain with 100 per cent disability because of a heart condition. He went right back in, as a staff sergeant attached to the Minneapolis marine office. Through a foul-up, he got orders to report to Parris Island for boot training. A few days nearly did him in. Representative Melvin Maas rescued him by getting the orders changed and Cannon was shipped back to Minneapolis.

During the subsequent years, he indulged in his hobby of helping out marines and ex-marines. After being discharged he went to the Marine Corps league as a service officer.

His years of association with the marines have been a great help in cutting red tape. On his frequent trips to Washington, Cannon first-names big brass and walks right into offices which would be at least temporarily off-limits to almost anyone else.

Cannon through the years has loaded himself with marine corps lore, and documented a good bit of it by collecting relics.

He was a scene designer, for instance, for an Otis Skinner touring company of ‘Kismet.” Among the props was a handsome ivory-handled knife – no stage piece but a real article from Tripoli, dating back to their time the marines made their historic landing there in 1803.

After the tour ended, the knife was presented to Canon. He now keeps its tip sheathed in tape because it’s supposed to be made of poisoned steel.

The knife gave him some anxious moments a few years ago, when he was running a restaurant in the Midway district and had it on display with other relics.

Someone broke into the place and took, among other things, the knife. Both because it was a valuable souvenir and a dangerous weapon as well, Cannon left no stone unturned to get it back.

At length he and the police tracked it down. A bunch of kids were playing with it, using it in a game of cops and robbers. (The knife will be on display at the State theater when the movie ‘Tripoli,’ depicting the Tripoli incident opens there Friday. The timing of the picture and the dinner is purely coincidental.”

An avid collector, Cannon often picked up books and relics in his travels as a scenic artist. In an old history of the Civil war he found a penciled map indicating a gunroom at old Fort Jackson, at the mouth of the Mississippi, had been sealed up.

He got a government commission to open it and dug through three feet of cement. In the room he found many rare pieces including a dozen large lamps. One of them, given him by the government adorns his home at Cleveland avenue and Ramsey county road B. The house is li furnished with similar items.

Among them are a couple of hand-wrought nails from the home of Betsy Ross. A marine happened to be guarding the place when Cannon visited as it was being repaired, and a wink from one marine to another seems to mean something.

Busy as he has been, Cannon foresees an even busier time ahead. For one thing, veterans are in a peculiar position, as far as their rights are concerned; while theoretically convened by provisions involving ‘hazardous duty’ or ‘simulated warfare,’ the United States is not actually at was. This, he thinks, will affect claims coming out of Korea.

The men who appeal to him for help, however, are confident of his ability. The little marine, they think, grew until he knows as much about the marine corps and its procedures as anybody up or down the line.”

If you unfamiliar with the hymn of the U. S. Marine Corps, is the oldest official song in the U.S. Armed Forces. Here is a link to a wonderful version: https://www.youtube.com/watch?v=u2pFKyOO-7U The music for Marine’s Hymn originally came from the March section of Offenbach’s “Genevieve de Brabant.” When, or who, added the lyrics for the “Marine’s Hymn” to Offenbach’s music remains unknown. The first version of the song was copyrighted, published. and distributed in 1919 by “The Leatherneck,” a Marine Corps magazine printed in Quantico, Virginia.

The 1929 lyrics:

From the Halls of Montezuma
To the shores of Tripoli;
We fight our country’s battles
On the land as on the sea;
First to fight for right and freedom
And to keep our honor clean;
We are proud to claim the title
Of United States Marine.

Our flag’s unfurled to every breeze
From dawn to setting sun;
We have fought in ev’ry clime and place
Where we could take a gun;
In the snow of far-off Northern lands
And in sunny tropic scenes;
You will find us always on the job
The United States Marines

Here’s health to you and to our Corps
Which we are proud to serve;
In many a strife we’ve fought for life
And never lost our nerve;
If the Army and the Navy
Ever look on Heaven’s scenes;
They will find the streets are guarded
By United States Marines.

To be continued…

Although today’s post is laden with details, there is a reason for it. As I briefly explore the emergence of two Minnesota-based scenic studios, Joy & Cannon Scenic Co. and Universal Scenic Studio stories, they represent a shift within the industry. The appearance of scenic studios during the second decade of the twentieth century, threaten the older and more established studios, such as Sosman & Landis. It is a time of great change.

Boyd Phelphs Joy was born on Feb. 20, 1873. The son of Berry P. and Lucinda Joy, He was one of three children and grew up in Winona, Minnesota. Throughout his life, Joy appears to have been a little here, there, and everywhere.  Described as short man with medium build, grey eyes and dark brown hair, Joy was quick to smile and had a magnetic personality.

By the age of twenty, Joy left Winona and moved north to the Twin Cities. He was first listed in the St. Paul City Directory during 1893, working as a clerk for J. H. Sleeper and boarding at 1062 Ross with Benjamin P. Joy, his uncle. He continued to live with his uncle, both moving to 874 Beach in 1894. Joy was still working as a clerk when he moved to Minneapolis in 1895. He then disappears from city directories until 1901 when he reappears as a civil engineer, briefly starting a new career before turning to the theatre. Joy is again living with his uncle, just at a new location – 364 E. 9^th St. in St. Paul. He started a new career as a civil engineer, living with his uncle again. This continued until 1902, when they moved to 1342 Brand. During this time, Joy’s employment is temporarily associated with G. N. Ry (Great Northern Railway). 1902 is the crucial moment when Joy transitions from the railway to the stage, without any indication as to how it happened.

Out of nowhere, he becomes the manager of a touring show that spring. The “Calgary Herald reports, “Boyd P. Joy, manager of the Rip Van Winkle company, called at the Herald Office this morning, and stated that his company, which would appear in the opera house tonight, has everywhere been having bumper houses. They will try to give the people the best possible play for their money. They will play tonight and tomorrow night in the opera house” (Alberta, Canada, 5 May 1902, page 4).

By spring of 1903, “The Superior Times” advertised, “Boyd P. Joy presents the romantic actor Bert C. Wood supported by the Girard Theatre Company in a repertoire of new plays, clever specialties, special scenery, [and] electrical effects” (Superior, Wisconsin, 18 April, 1903, page 3). That fall, Joy is managing and acting with Breckenridge Stock Company, a company featuring the comedian Charles Breckenridge. Among their repertoires is the 4-act comedy, ‘An Irish American,”  “Rip Van Winkle,” “Her Bashful Admirer,” “Guilty Without Crime,” and the military comedy-drama “Nebraska.”  While the company was touring Kansas, Joy was mention in the “Iola Daily” noting, “Boyd P. Joy, the manager, is a pleasant gentleman to deal with in a business way and is a capable actor” (14 Nov. 1903, page 3). By winter, “The Emporia” reported, “The principal characters were good, but it was Boyd P. Joy as the funny Irishman that received the greater part of applause”  (Emporia, Kansas, 22 Dec. 1903, page 5). Another role played by Joy with the Breckenridge Company was that of Spotted Chief Horse in their production of “Nebraska.”

By 1905 Joy has returned to Minnesota, becoming the treasurer of the Metropolitan Opera House in St. Paul. He is now 32 years old and residing at 95 11^th St. The next year he is also listed as a treasurer for the Met. Opera House and living at 125 Summit Ave in St. Paul, yet is back on the road. In 1906, Joy is touring with another production – “A Daughter of Colorado.” Advertised as “A complete scenic production,” the show is advertised as under the direction of Boyd P. Joy (Grand Forks Herald, 13 Sept. 1906, page 5). This new four-act romantic comedy featured Miss Laura Frankenfield.

In 1907 Joy is listed as a playwright in “Dramatic Compositions Copyrighted in the United States, 1870 to 1916” –  “Panama – a tale of the great canal, a melodrama in 4 acts by B. P. Joy. [97] Typewritten. © Boyd. P. Joy. St. Paul; D: 10884, June 29, 1907; 2c. June 29, 1907.” He seems to have been trying his hand at a little bot of everything before settling on scenic production. Between 1907 and 1912, Joy focuses on scenic production. By 1912, Joy is credited with creating a new scenic production for the Huntington Players –  “In the Bishop’s Carriage” (South Bend Tribune, 9 Nov. 1912). This is where his transition from manager/actor to scenic artists begins and he is noted as “the Huntington artist.” Joy seems to have made the shift from performance to design while working for the Huntington Company.

In 1913, Joy is still listed as the Huntington Company’s scenic artist for “As a Man Sows.” The “South Bend Tribune” reported, “’As the Man Sows, which will be given by the Wright Huntington players at the Auditorium theatre all next week, was written by Henry Hamilton, one of the foremost English playwrights. It ran for one year at the Princess Theatre in London, and for a longer period at Wallack’s in New York…the scenery has been painted by Boyd. P. Joy” (8 March 1913, page 6). The scenes were laid in Scotland and Ireland, providing ample opportunity for beautiful stage compositions.

At the age of 41, Joy married Florence E. Fogerty (sometimes spelled Fogarty) in St. Paul, Minnesota, on Dec. 15, 1914. The 1915 St. Paul directory lists Boyd as now working as an artist at the Schubert Theatre. Joy and his wife resided at from 159 W. Summit Ave. Joy’s future business partner, Gerald V. Cannon, first appears in the Minneapolis city directory in 1915, living at 4144 38^th Ave S. in Minneapolis. Although listed as an artist, he is not linked with any particular company. It is likely that both Joy and Cannon are sporadically working for the Twin City Scenic Co. at this time. Their combined experience might prompt them to go into business for themselves, opening Joy & Cannon in St. Paul.

In 1916, Joy & Cannon first appear as a scenic studio in the St. Paul Directory. Their address is listed as 378 S. Wabasha, an address will not change over the next six years. The 1917 St. Paul City Directories list Joy as residing at 128 E. Winifred and working at Joy & Cannon Scenic Co. Gerald V. Cannon is also listed in the city directory and associated with the firm, residing in Minneapolis.

By 1918, Joy was working on a project in South Dakota for the Sioux Falls Coliseum. The “Argus Leader” would later recall, “Thirteen years ago, Boyd P. Joy in the employ of a Minneapolis Scenic Studio, was busy at the new Sioux Falls coliseum, painting the scenery and curtains for the stage which had been erected of plank laid on horses….for thirteen years, the scenery which Mr. Joy built and painted has been in use.”

There seems to have been a split between Joy and Cannon that same year. In 1918, Joy is now listed as a scenic artist at the Schubert Theatre with his residence on 217 N. Cretin Street.  First of all, Cannon begins working for the military and serves during WWI. In 1918, Cannon is listed in the St. Paul city directory as the manager of “G. V. Cannon Scenic Co.,” residing at 351 Hope in St. Paul. Joy & Cannon appear to temporarily vanish; yet the firm will reappear in later directories during the 1920s. This is very perplexing, especially since Joy moved to South Dakota in 1919 and was listed as a scenic artist in the Sioux Falls Directory. In Sioux Falls, he is working for the Universal Supply Co. and living at 918 S. Duluth Ave.

By 1920, Joy returns to Minnesota city directories, now listed as the manager of Universal Scenic Studio and residing at 45 S. Lexington Ave, St. Paul, Minnesota. Two years later, Joy is listed as the president of Universal Scenic Studio, still living on Lexington in St. Paul. That year, however, the Joy & Cannon Scenic Co. and Universal Scenic Studio are BOTH advertised in the 1922-1923 Film Yearbook.  Joy continues to be listed with Universal until 1925. The only thing that changes is his home address, now at 1325 Grand Ave. The address of Universal Scenic Studios is 329 Van Slyke Ct. in the St. Paul Directory.

By 1928, Joy moves again, this time to Milwaukee where he established Universal Scenic Studio, Inc. He is still listed as the president of the company, living at 436 44^th Street in apt. 33. The 1930 US Census confirms that Joy was still living in Milwaukee and was employed as a manufacturer of stage scenery. The story doesn’t end here, as I now want to look at what Cannon’s career as a scenic artist and studio founder.

To be continued…