Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 57 – Nicholas J. Pausback

Copyright © 2021 by Wendy Waszut-Barrett

Nick Pausback was a scenic artist who worked at Sosman & Landis from approximately 1908 until 1916, primarily painting at the firm’s annex space on 20^th Street in Chicago.  Although the firm’s main studio was located on Clinton St., they frequently leased and staffed annex spaces during times of peak productivity. These secondary spaces handled much of the “specialty work” that was contracted, or subcontracted by other companies. The specialty work was directly supervised by Thomas G. Moses (1856-1934). Beginning in 1904, Moses was responsible for all design, construction, painting and installation of projects at Sosman & Landis at both studios.

In 1908 Moses, wrote, “During this year I have split my time between 20^th Street and Clinton Street.  Did a great many scenes and drop curtains and we kept a good force at 20^th Street.  I depended a great deal on Pausback to look after the work while I was away.”

Nicholas “Nick” John Pausback was the second of seven children born to Nickolas J. Pausback (1853-1900) and Caroline Helbing (1859-1943). Born on May 5, 1881, in St. Louis, Missouri, his siblings were: Maria Pausback (b. 1879), Joseph William Pausback (b. 1883), Eva Pausback (b. 1884), August Pausback (b. 1885), Estelle “Stella” Pausback (b. 1888), and Clara “Kate” Pausback (b. 1889).

In 1900, Pausback was still living at 3113  Magnolia Street, St. Louis, with his family. At the time, he was 19 yrs. old. The US Federal Census that year listed Nick’s occupation as “artist” in the “painting” industry.  Interestingly, he was the only child in the family who worked in the theatre, while his siblings were employed as milliners, clock salesmen, mill clerks, and saloon employees. Pausback’s mother, Caroline, even worked at a grocery store.

By 1903, Pausback was working as the scenic artist at the Imperial Theatre in St. Louis. On January 21, 1903, the following Want Ads was placed in the “St. Louis Globe-Democrat” on page 8:

“WANTED – Boy to help scenic artist. Apply Pausback, Imperial theater, stage entrance, 9 a. m., Wednesday.” Regradless of his position at the Imperial, Pausback continued to paint scenes at other theaters throughout the region.

In 1905, he painted scenery for the new Grand Theatre in Owensboro, Kentucky. On July 16, 1905, “The Owensboro Messenger” reported, “The painting of the scenery at the Grand will be finished this week, and no theater in the country will be more elegantly equipped. The main drop curtain is an art creation of exceptional merit. In the center is a Venetian scene of beautiful design. All the scenery is artistic and varied in design. There are sixteen pieces of woods scenery, two drops, four borders and ten wings. There are fourteen pieces in a fancy chamber set. In addition  to these there is scenery showing plain interior rooms, kitchen, a prison scene, a street scene, landscapes and garden. All of the work was done in the house. The painting was done my Nick Pausback, of St. Louis, who has been at work at the Grand for six or seven weeks. The frames were also made in the building. A rack for scene painting is permanently installed in the building, and new scenery can be painted as required. The Grand will open the latter part of August, with Four Hunters, a musical comedy” (page 5).

On July 18, 1905, a second article in the “Messenger” provided a little more information about Pausback’s works: “Mr. Nicholas Pausback, of St. Louis, who has the contract for the painting of the scenery, is diligently at work and will be through in a few days. He painted the finishing touches on a large outside drop curtain Saturday morning. This curtain is made of heave asbestos. It is painted with a beautiful Venetian scene. It is a most artistic piece of work. Two drop curtains and several fly wings will finish the equipment of scenery and Mr. Pausback will begin them immediately. One of the scenes is fitted up with sixteen pieces and another has fourteen. The latter is a fancy parlor scene painted in Japanese pattern. It is very handsome. Thirty hanging pieces, including drop curtains, etc. will be in place during any performance” (page 6).

On July 22, 1905, the final article in the “Messenger” reported, “The work of fully equipping the new Grand theatre is progressing rapidly. Mr. Nicholas Pausback of St. Louis is the artist employed. He has painted several scenes and is now at work on the others. There will be about twenty hanging scenes and about seventy-five all told. The greater part of these will be in frames. Stage carpenter McDaniel, has the work of making the frames and fitting them well in hand. When this work is completed the Grand will have one of the very best equipped of stages. The two “tormentors,” painted by Mr. Pausback, having been placed and they are receiving the favorable criticism of all who see them.

That same year, Pausback was also engaged to paint new scenery for the new opera house in Central City, Kentucky, located ninety miles due north of Nashville, Tenness.  On July 26, the “Messenger: announced, “Mr. N. Pausback, who is engaged in painting scenery at the New Grand theatre, has returned from Central City, where he has secured a contract to paint new scenery in the opera house at that place” (page 8). His work in Central City did not last for long. Only four years later, the opera house went up in flames; the fire started during commencement exercises for the Central City School’s music class. The music teacher and children ranging from ages 5-12 were the main victims.

Just prior to his work in Kentucky, Pausback was married on June 29, 1904. His bride was Ottilia Creszenzia Groebl, and the wedding ceremony was held at St. Francis de Sales Catholic Church in St. Louis. Ottilia (1883-1966) was the daughter of Peter Gröbl and Creszenzia Gmeinweise. Nick and Ottilia celebrated the birth of six children: Nicholas, Elvira, Raymond, Mary, Lawrence, and Therese.

After the birth of two children, Pausback moved his family to Chicago in 1907, where the remaining four children were born. Although it remains unclear as to when Pausback started at Sosman & Landis, by 1908 he was supervising the 20^th Street Studio while Moses was away.  At In 1909, Moses wrote, “In January I went to Clinton Street to stay for some time.  Sosman seemed to think I was needed there more than at 20^th Street.  Pausback took charge of the 20^th Street studio.” Pausback had already taken charge of the 20^th Street studio during Moses’ absences the year before. 

The 1910 US census listed Pausback as an artist in the scenic studio industry, living with his family at 651 West 61^st Place in Chicago. In 1911, Moses again records that Pausback took charge of the 20th Street studio, writing “We started Brewer’s work at the 20^th Street studio, with an extra number of men.  Pausback had his hands full; [Fred] Scott acted bad.  Got Geo. Schultz on the staff at 20^th Street.” Pausback continued to work at Sosman & Landis until 1917.

Pausback also started taking outside projects with Moses, grabbing work whenever he could to support his growing family. In 1916, Moses wrote, “Pausback went to the 20th Street studio, part of which we rented for a couple of months.  We put plenty of help with Pausback to rush the work through, and I think he will be able to pull it out, as we are too busy at Clinton street to take much of it.” Pauback also traveled with Moses to New York that year at Thanskgiving. Of the project, Moses wrote, “We expressed the scenery and November 28^th it was all up.  I did the society stunt while Nailer and Pausback put all the work up, and for a wonder everything fitted.” Sometime during 1917, Pausback began working for another company.

In 1918, Pausback’s WWI Draft Registration listed that he was working in the advertising department of Swift & Co. in the Union Stock Yards of Chicago.

Already in 1903, Swift & Company employed 5000 workers at its slaughtering plant in Chicago’s Unions Stock Yard. Here is a little history about the company: http://www.encyclopedia.chicagohistory.org/pages/2869.html

This was a big career shift for Pausback, and I have to wonder what type of advertising he was doing for the firm; whether it was designing advertisements, painting signage, or something else for the beef business. In 1918, Pausback and his family were living at 6539 Ellis Ave. In his draft registration, Pausback was described as tall and slender, with grey eyes and dark brown hair.

The 1920 US Federal Census listed the Pausbacks as still living on Ellis Avenue in Chicago, with Nicholas’ occupation again listed as an advertiser in the “Packing Co.” industry [beef packaging].

Eventually Pausback struck out on his own and established a scenic studio. In 1927 Pausback Studios was located at 3727 Cottage Grove Ave., Chicago. Things were continuing to look up for Pausback by the late 1920s; work was plentiful, and there was a new and insatiable client – academic theatre. Educational and academic institutions became a primary client for Pausback Studios, as well as many theatrical supply firms at the time. Public schools were in a constant state of demand. Publications focused on how amateur productions could forgo the need of any theatrical expert – “do it yourself” became a popular approach; you just needed enthusiasm and an instructional manual to produce a show.  And this is what Pausback also cashed in on. In 1928 Pausback also wrote a catalogue entitled “Stage Craft.” It was listed in the “Catalogue of Copyright Entries,” published by Pausback scenery company in Chicago, 1928. His publication was included in the “Catalogue of Copyright Entries, 1929.  I have yet to actually see the book, however, Worldcat shows copies in New York, Washington D.C. and Cleveland, here is the link: https://www.worldcat.org/title/stage-craft/oclc/5438657&referer=brief_results

Pausback also began partnering with other business leaders to deliver scenery for city events. On Dec. 2, the “Chicago Tribune” pictured Pausback in the backrow of a group of men under the heading “Business Men Help Plan Yule Trees” (page 12). He was one of several Chicago business men who met to plan the construction, lighting and decoration of giants Christmas trees in Chicago parks for the 1928 holiday season, partnering with F. H. Fisher of F. H. Fisher & Co; W. E. Bell, electrical engineer of the south park commission; Gerhardt Meyne of the Meyne construction company; C. N. Hidge of the Illinois Bell Telephone Co.; A. J. Vogele of the Commonwealth Edison company; Harry S. Towle, electrical engineer of the west park commission; Pierre Bloiuke, architect; and Thomas F. Queenan, electrical engineer of the Lincoln park commission. Pausback presented some new ideas for the outdoor tree décor. On Dec. 9, 1928, the “Chicago Tribune,” reported, “N. J. Pausback of the Pausback Scenery company presented a display of sample ornaments designed to meet the requirements of trees of gigantic size. Among these was a modern idea of spangles, some of them ten inches in diameter of various shapes and colors. Another decorative feature consisted of metal balls in all colors and sizes, each covered with silver sparkles” (page 93).

He and his family continued to prosper, despite the economic downturn after 1929. Many of his family gatherings and other social events were announced in the “Southtown Economist.” On February 21, 1930, the “Southtown Economist” announced,  “Mr. and Mrs. Nicholas J. Pausback and their children, Lawrence and Teresa, 6606 Woodlawn ave., returned Sunday from a motor trip to St. Louis where they visited relatives” (page 14). Later that fall, the Pausback’s threw a huge dinner On September 12, 1930, the “Southtown Economist” reported, “Mr. and Mrs. Nicholas J. Pausback, 6606 Woodlawn ave., entertained last Saturday evening at a dinner and reception at the Hotel Hayes, 6345 University Ave.” (page 16). It was quite a big gathering with a formal program that included musical performances, poetry reading and costume dance.

Pausback Scenery Co. continued to land a series of contracts for various events throughout the 1930s. In 1933, Pausback Scenery Co. was credited with delivering properties for “Wings of a Century” at the Chicago World’s Fair that year. The firm was also responsible for the Street of Paris at the Exposition. Pausback’s son was interviewed about the family business. Pausback’s grandson recently shared “Larry Pausback Century of Progress” (his father, Pausback’s son) on Vimeo. Here is the link to the interview: https://vimeo.com/118502410

The firm also delivered some traditional scenery for regional productions, but these type of projects became less and less frequent. On Nov. 18, 1935, they manufactured a stage setting for the Bristol Paly-Goers League production of “Petticoat Fever.”  On Nov. 18, 1935, “The Bristol Herald Courier” in Bristol. Tennessee, reported, “The setting showing the interior of the Labrador wireless station, designed by Pausback Studios, was realistic and authentic” (page 3).

By 1944, Pausback briefly partnered with another former Sosman & Landis employee, Art Oberbeck. The two were credited with scenery and lighting a “Alaskan Stampede.” The article reported, “Alaskan Stampeded, the unique spectacle – musical show – ice ballet and dramatic story – which will open at the Chicago Coliseum, tomorrow, has called a regiment of famous people to Chicago to participate in this production. Not only are singing, acting, and skating stars of note headlining the show, but writers, musicians, and technicians form New York and Hollywood are combining their talents for a completely original show” (page 12). Of the technical contributions, the article added, “Clarence Shapiro, dialogue director is a Chicagoan. Chicagoans are also the scenic and lighting experts, A. W. Oberbeck and N. J. Pausback, who are responsible for breathtaking effects of five stages with Mount McKinley for a background and Aurora Borealis playing over the whole and reflected real lagoon. There is a plot woven through all this color, sound, and movement. It is a heartwarming romantic story of a young pilot, a small Eskimo boy who is rescued from death , and an American girl whose love the pilot desire.”

In the 1950s, Pausback Scenery Co. was primarily focusing on stage equipment and draperies for academic institutions, with the firm was competing against other drapery companies that included National School Supply, Miller School Supply, Lee School Supply, Art Drapery Supply, Lee School Supply, Mitchell-David Co., and Tiffin Scenic Studios. Work continued, but Pausback started to slow down and contemplate retirement. After running the firm for twenty years, he retired, only enjoying six years before passing away in 1953. Pausback passed was at the age of 72 years old and He is buried in St. Mary Catholic Cemetery and Mausoleum in Evergreen Park, Illinois (Section 1, lot 764). On May 14, 1953, Pausback’s obituary was published in the “Chicago Tribune” on page 36. It announced:

“Nicholas J. Pausback, 72, of 1000 S. Rhodes av., retired theatrical scenery contractor, died yesterday in his home. Mr. Pausback, who retired six years ago, supplied amateur and professional theatrical scenery for 45 years, the last 20 years as owner of Pausback Scenic studios. An amateur magician, he was a member of the International Brotherhood of Magicians and the American Society of Magicians. Surviving are his widow, Otilia, three daughters, Mrs. Elvira Pausback Howard, Mrs. Mary Crescentia Welsh and Mrs. Therese Curtis, and three sons, the Very Rev. Gabriel of the Carmelite Order, Raymond Joseph and Lawrence. Mass will be said at 9:30 a.m. Saturday in St. Clara’s Carmelite church.”

Ottilia lived for another decade, passing away on May 23, 1963. Both are buried at Saint Mary Catholic Cemetery and Mausoleum in Evergreen Park, Cook County, Illinois (Section 1, lot 764).

To be continued…