The biography for Lawrence Edward Donohue (professional name L. E. Donigan) is connected to Sosman & Landis employee No. 98, George Pat Wood. They were relatives.
Wood’s mother was Bridget “Della” Donohue/Donigan, the sister of scenic artist Lawrence E. Donohue/Donigan. Both Donohue and Wood worked as scenic artists in St. Louis and Chicago, as well as many other cities across the country. In 1913 they were associated with Sosman & Landis, painting stock scenery together for the Empress Theatre in Des Moines, Iowa.
Postcard of the Empress Theatre in Des Moines, Iowa.
I have been unsuccessful in my attempt to track down Donohue’s early theatrical career in either the 1870s or 1880s. This is not unusual if he were working as a scenic artist assistant or at a scenic studio during this time. Such is the case for many itinerant scenic artists who went from town to town looking for work. For example, when Sosman and Landis began their partnership in the mid-1870s, the continually traveled before selecting a permanent residence.
By 1890, Lawrence E. Donigan changed his name to Laurence E. Donohue. He was listed in the 1890 and 1891 Chicago Directories as an artist, residing at 20 Gurley. He remained in the region for the next few years, marrying Chicago-native Mary Muir Dinnervell on June 25, 1894. Interestingly, Mary’s maiden name also varied from Dinnervell to Drimervell, Dennerwell, and Dinnerville. The surnames were certainly a challenge this time! Their wedding announcement was published in Chicago’s “Inter Ocean” on June 26, 1894 (page 8).
Shortly after marrying, the couple relocated to St. Louis, Missouri and celebrated the birth of Lawrence Edward Donohue Jr. (May 1895). At the time, the small family was living at 1302 Sidney St. Lawrence. Lawrence was listed as an artist in the St. Louis City Directory in 1895 and 1897. The following year he celebrated the birth of a second son, James P. Donohue. Their stay in St. Louis was short-lived and the small family soon returned north.
By 1899, the Donohues were back in Chicago where their third son, Walter J. Donohue, was born. The couple celebrated the birth of at least two more children over the next several years. Mildred Donohue was born in 1901, with Mary Florence Donohue following in 1906. It is likely that more children were born, but did not survive infancy.
By 1900 the Donohue residence was located at 20 Vernon Park, Chicago; they would remain at this location until the 1930s.
It was also at the onset of the twentieth century that Lawrence E. Donohue changed his professional name to Lawrence E. Donigan. I have yet to find any official records which explains why census reports consistently listed Donohue or Donahue, but all newspaper references listed L. E. Donigan; they were the same person. Even his death certificate lists both names, suggesting that Donigan was simply an alias for work.
Lawrence E. Donigan continued to work as an itinerant scenic artist, traveling across the country for work. He was listed as the scenic artist for the Grand Opera House in Memphis Tennessee, during 1900. For a year, he was even listed in the Memphis Directory, rooming at 441 ½ Main. Scenic artists frequently listed themselves in local directories, despite having a permanent residence and family in another city. The key is “rooming, “boarding,” or just listing the address of a theater. This was to ensure that they were able to receive mail during extended absences from their permanent residence.
By 1902, he was working at the Academy of Music in Chicago, placing an advertisement in the “Chicago Tribune” on July 20, 1902: “WANTED FRESCO PAINTER: Must draw and paint ornaments. Academy of Music. L. E. Donigan.” This also foreshadows his transition to the decorative arts during the Great Depression.
Want Ad in the Chicago Tribune from July 20, 1902.
In Chicago, Lawrence also began working at Sosman & Landis, later securing a position for his nephew, George Pat Wood. Wood likely started with the firm about the same time as John Hanny and Art Oberbeck, c. 1905-1907.
Donohue continued to work for the Chicago-based firm under his professional name, L. E. Donigan. On July 8, 1913, both Donigan and Wood were mentioned in the “Des Moines Tribune” while working at the Empress Theatre in Des Moines, Iowa. The article reported, “…the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
Over the years, the Donohue family remained at their house on Vernon Park Place in Chicago, although the renumbering of streets shifted their house number from 20 to 857. Donohue/Donigan continued to work as a scenic artist until the 1920s, eventually drifting toward the decorative arts. The last mention that I have located of Lawrence’s scenic art work is in 1922. That year Lawrence E. Donigan was credited with painting the scenery for the Oliver Player’s production of “The Barrier,” an adventure melodrama. On April 29, 1922, “The South Bend Tribune,” reported, “L. E. Donigan, scenic artist for the Oliver Players, has endeavored to reproduce the actual atmosphere of the mining country with the aid of Mr. Burham, who has himself sent many months in Alaska” (page 6).
The Market Crash of 1929 changed everything for many scenic artists, including Donigan. John Hanny described the shifted in a letter to Dr. John Rothgeb: The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musical, etc. if any were being produced in New York and Hollywood. At this point the studios disappeared but the scene painter couldn’t disappear and had to become freelancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay.”
The 1930 US Federal Census reported that Lawrence Donahue was working as a painter in the building industry. I have yet to locate any newspaper reports for L. E. Donigan at this time. This is not unusual as scene painters gradually began to fade from the public notice.
During the 1930s, the Donahue family home moved from Chicago to Oak Park, the same western suburb that had housed many other scenic artists since the 1890s, including Thomas G. Moses and Joseph Landis (Perry’s older brother).
The 1940 US Federal Census listed the Donahue residence as 829 South Cuyler, Oak Park. The household included: Lawrence (head, 76 yrs.), Mary (wife, 68 yrs.), Marie (Mary Florence) Krbec (daughter, 33 yrs.) and Marcelle Krbec (grandson, 9 yrs.). Their son James P. Donohue, who had continuously lived with his parents since birth was missing that year. James P. Donohue’s 1942 draft registration card listed that he was working for the U. S. Army Signal Corps in Chicago. However, his home residence was still listed as 829 South Cuyler, Oak Park.
Both Lawrence E. and Mary Donahue passed away in 1944, within weeks of each other. Their two children, James P. Donohue and Mary Florence Krbec inherited the house, remaining in the Oak Park family home for at least another decade.
On Feb. 13, 1944, Mary Donahue’s obituary was published in the “Chicago Tribune” (page 18). It announced:
“Mary Muir Donahue, of 821 S. Cuyler avenue, Oak Park, beloved wife of Lawrence, fond mother of Lawrence E., James P., Walter T., Mildred M. Cotey and Mary F. Krbec, sister of Walter Dinnerville, Ina Frank and Louise Humphries. Resting at funeral home, 17, Madison street, Oak Park, Funeral notice later.”
Ten days after the announcement was published, Lawrence passed away on Feb. 23, 1944. The Illinois Death Index lists both surnames for Lawrence on his record: “Lawrence E. Donigan or Donahue.”
On March 2, 1944, the Oak Park Leaves announced,
“L. E. Donohue Dies;
Scenic Artist
Lawrence E. Donohue of 821 South Cuyler died on Wednesday, February 23, at his home after suffering from an ailment of two years standing. His wife, the late Mary Muir Donahue passed away on February 12 of this year. Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia. He was a business agent for the Scenic Artists’ union 350 for a number of years and was active until a few weeks before his death, despite poor health.
Born in Alton, Illinois, in 1864, Mr. Donoahue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mirs, Mildred M. Coty of Chicago, and of James PO., and Mrs. Mary Krebec who live at home, and brother Peter J. Donigan and Mrs. Mary Berry of Chicago. Services on Saturday were conducted at Ascension church with burial at All Saints” (page 50).”
George Pat Wood (left) and Victor Hubal (right) in 1912.
Victor Hubal & George Wood are pictured together in a 1912 photograph; each working as a scenic artist in Winnipeg at the time. The caption written on the photograph reads, “Dad [Hubal] in 1912 at Winnipeg, Canada, Scenic Studio. His Pal Scenic Artist George Wood.” At the time, Hubal was 24 and George was 21 yrs. old; both were associated with Sosman & Landis. As with many artists at the Chicago-based firm, they traveled all across North America, rapidly painting scenery as they journeyed from one venue to the next. Although Sosman & Landis was known for shipping scenery to distant locations, many of their projects still continued to be painted on site. Much had to do with the fact that despite the large size of their main studio and additional paint spaces at various annexes, some projects were still completed on site.
It has taken me quite a while to track down George Patrick Wood, as there are several George Woods who worked as artists from the mid-nineteenth century to the mid-twentieth century, including his father, George Wood Sr.
George Patrick Wood was born in Chicago on April 10, 1891, although his birth was not registered with the State of Illinois until July 31, 1891. Later in life, he would go by George Pat Wood in newspaper article. He was one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (also erroneously listed as Donahue/Donaghue/Donigan in many historical records), Della Bridget Donohue was born about 1870 and named after her maternal grandmother Bridget (McDermot) Donohue.
Wood had two younger brothers: Arthur Francis Wood, born in Feb. 1893, and Walter James Wood, born in Feb. 1895.
I have uncovered very little about their early childhood, or the Wood family’s activities between 1895-1900. However, sometime between the birth of Walter Wood in 1895 and the US Federal Census in 1900, the Wood family moved from Chicago to St. Louis, Missouri. They likely followed Della’s older brother, Lawrence E. Donohue, who worked as a scenic artist and moved from Chicago to St. Louis in 1895. L. E. Donohue was listed as an artist in the St. Louis Directory from 1895-1897. Two of his younger children were born in St. Louis, suggesting that his family also relocated from Chicago to St. Louis. By 1899, however, Donohue returned to Chicago where another child was born that fall. He continued to work as a scenic artist throughout this entire time.
It remains unclear as to whether Della Wood returned with her brother to Chicago at the same time. However, by 1900, neither George Wood nor Della Wood were living with their three children in St. Louis. They both appear to have vanished from public records, with George Sr. never reappearing in the lives of his wife or children. My gut instinct says that George Sr. passed away, Della became a single parent, and could not provide for her sons, leaving them at an orphanage. My theory is based on the 1900 US Federal Census.
St. Louis Home of Refuge where George Pat Wood, Arthur Wood and Walter Wood lived as “inmates” in 1900.
In 1900, George, Arthur and Walter Wood are all listed as “inmates” at the “St. Louis Home of Refuge.” The term “refuge” is a little misleading, as the home was well known as an abusive penal institution for juvenile offenders, as well as orphans. It remains unclear as whether all three boys were arrested for delinquent acts or committed by a family member, but their young ages suggest the latter. The ages of the three boys were listed as 9, 7, and 5 yrs. old. I have no idea how long they stayed at the St. Louis Home of Refuge or remained in the St. Louis area. They, like their parents, disappear from public records for about a decade.
By 1913, George and Arthur are again living with their mother, now in Chicago. I have no idea when they returned to the Windy City, or where their youngest brother Walter during this this time.
Newspaper accounts from 1913 indicate that George Wood worked as a scenic artist with his maternal uncle, Lawrence Donohue. Both painted scenery for the Empress Theatre in Des Moines that year; a Sosman & Landis project.
The Empress Theatre in Des Moines, Iowa, became the Pantages Theatre.
On July 8, 1913, the “Des Moines Tribune” reported:
“Rushing work for Empress Theatre.
Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
I am going to pause here as newspapers are rife with misspellings, especially last names. As this was a Sosman & Landis project, Lawrence Donahue would have been the head scenic artist, with his tow assistants – George Wood and Art Oberbeck. This was very common for the studio at the time; a master artist and two assistants on site. In many ways it was cheaper to put up three staff members, than painting and shipping scenery from Chicago, especially during busy periods.
The Des Moines article continued:
“All is activity in the Elbert & Getchell building studio. More than thirty house sets of scenery will be provided for the Empress stage in addition to the settings that are carried by larger acts on tour. The management promises that there will be no better dressed stage in the country than that of the new Empress. Elbert and Getchell leave that latter part of the month for New York and other eastern cities, where they have many of next seasons musical comedy company for the Princess tentatively under contract. It is their purpose to complete the company on this trip and to bring the members back with them about Aug. 10 when stage director Wedgewood Nowell will be here to begin rehearsals. The new company will number fifty and the management promises a surprise when the roster is announced.” The Empress Theatre opened in September 14, 1913. It was located at the intersection of 8th and Locust Street.
From 1913 to 1914, George, Arthur, and Della Wood were listed in the Chicago Directory, living at 736 Wrightwood. Della Wood was listed as the widow of George Wood, and her sons, were each listed as an “artists.”
George Wood divided his time between Chicago and New York while working for Sosman & Landis. In August 1915, he left the firm’s New York branch to take a design an painting position at the Grand in Fargo North Dakota in 1915. On Aug. 14, 1915, The Fargo Forum and Daily Republican listed George Woods in a list of individuals secured for the upcoming season (page 8). The article announced, “The scenery will be designed and painted by Geo. Wood, who comes direct from the Sosman & Landis studio, New York City.”
By the onset of WWI, however, Della and her sons all returned to St. Louis, Missouri. In St. Louis, George, Arthur and Walter all registered for the WWI Draft. Walter joined the Navy, and Arthur served in the Army for both WWI and WWII. It doesn’t appear as if George was ever drafted into the military.
The gravestone of George Pat Wood’s younger brother Arthur F. Wood.The gravestone of George Pat Wood’s youngest brother, Walter J. Wood.
Wood registered for the WWI draft in St. Louis eleven days after his wedding, listing his wife and mother as a draft exemption. His draft card listed that he was living at 2215 Benton in St. Louis, MO, working as a scenic artist for himself. Wood also requested a draft exemption to “support wife and contribute to mother.” In regard to his occupation, Wood listed his present trade as “scenic artist” and current employer as “himself.” He was described as medium height, medium build, light brown hair, and grey eyes.
George Pat Wood’s WWI Draft Registration Card, dated June 12, 1917.
It was on June 1, 1917, that George P. Wood married Alice V. Chalfont (1898-1981) in Jackson County, MO; he was 25 and she was 19 yrs. old. Their marriage was announced on Sept. 21, 1917, in the “St. Louis Star and Times” – “George P. Wood, 1825 North Garrison avenue; married June 1” (page 3). George and Alice Wood celebrated the birth of their only daughter the following year. On August 29, 1918, Joy Patricia Wood was born in Kansas City, Missouri. Unfortunately, their marriage was extremely short lived, ending in divorce by 1920. The 1920 US Federal Census listed Alice and Joy Wood living in St. Louis, Missouri, with Alice’s parents, Julian O. Chalfant (1857-1932) and Virginia “Dolly” Wetzel Chalfant (1857-1931). In 1920, George was again living with his mother.
Della Wood married her second husband, Rudolph Luedewink, by 1920. The census that year listed George Wood and Arthur Wood the Luedewink’s step-sons. At 48 yrs. old, Luedewink was also a painter, employed at the J. W. O. C. Painting Co. The same census listed George as an artist and Arthur as a paperhanger.
George’s ex-wife Alice also remarried. The first name of her second husband remains a mystery, but his last name was Knox. I have yet to locate a marriage license or anything else that indicates when Alice V. Wood and Joy P. Wood became Alice V. Knox and Joy PP. Knox, however they began using the last name of Knox by 1921. In 1930, Alice V. Knox and Joy Knox were still with Julian and Virginia Chalfant in St. Louis, Missouri.
George continued to work as an itinerant artist, going from one project. In 1921, he was working at the Orpheum Theatre in Montreal, Canada. On Sept. 24, 1921, “Billboard” announced, “George Pat Wood is again at the Orpheum Theatre, Montreal. Mr. Woods went there at the end of last season, and after a short vacation resumed work for the coming season” (page 21). This means that he arrived in Montreal during the spring of 1921 and stayed until the spring of 1922. By 1923, he relocated to Cincinnati, Ohio, and was listed in the City Directory as a scenic artist, rooming at 3422 Ibsen Av. There was no mention of his wife, but it was common for itinerant scenic artists to list themselves in a directory when working in one area for an extended period of time.
In Cincinnati Wood became associated with the Stuart Walker and his touring company. It was a successful working relationship that would last for six years. On August 26, 1924, “The Post” (Covington, Kentucky) listed Wood as the scenic designer and artist for Alice M. Bradley’s new play “Three Roses” at the Cox Theater, produced by Stuart Walker. The article reported “the scenes are designed and executed by George Pat Wood.” Peggy Wood starred in the three roles -Rose Lovejoy, Rose Payne and Rose Frely. The article reported, “Peggy Wood, guest player, who portrayed each of the three Roses …has a certain vitality, and intensity, which is of great assistance to her in interpreting the high courage and independence of the various Roses. She as in addition a charming personality, and in her acting is quite free from theatricalism.” On July 2, 1921, the “Indiana Daily Times” announced that “Mr. Walker has engaged Peggy Wood herself, to appear in her own play ‘Artist’s Life.’” (page 7). I have yet to locate that George was related to Peggy Wood in any way. However, George did remarry in the 1920s. I have no idea what her first name was or when they were married.
On July 2, 1926, an amazing article was published in the “The Kentucky Post and Times-Star that indicated BOTH George Pat Wood and his wife were working as scenic artists (page 30). It also discusses the importance of lighting on stage scenery.
I am including the article in its entirety as female scenic artists were seldom mentioned in the press at this time:
“Only three or four people were sitting in the theater Monday morning when Stuart Walker called a scene rehearsal of ‘The Swan.’ Painters, carpenters, property men, and others were rushing around putting on finishing touches or checking over lists. When on the day of an opening performance Walker orders all scenery set and the stage arranged for the various acts, nothing must be missing.
These scene rehearsals usually constitute Walker’s first view of the settings. He has conceived what they should look like, for he himself has drawn the designs, selected the furniture and properties and visualized the whole play.
He walked in, looked over the first sets, approved it with some minor suggestions and ordered the second scene put up. The work began. Two men carried out a superfluous piano. Two others dragged in a throne chair which they stood against the back drop in the banquet scene. Two others lugged in great tall pillars, apparently of black Italian marble. These they handled easily. There were six of them in all.
Then came the banquet table, covered with lacy cloths, brilliant silver candelabra and so on. A man walked in with two enormous champagne collers which caused sarcastic remarks from everybody on the stage.
Then a spontaneous touch of realism was added when the chef from the Havlin Hotel, in cap and white apron walked upon the stage with two huge platters, on which were the broiled salmon and the salad needed in the dinner scene. He proudly submitted these ‘properties’ for inspection and the praise he received delighted his artistic soul. Then he brought out the bullion and set the 10 or 12 cups on the table.
Boyd Again, property man and actor, practical person that he is called to ‘Jack,’ a stage hand, and said, ‘Put this soup some place where it won’t get dusty. Jack grinned and obeyed.
Finally, the beautiful scene, which throughout the week has evoked applause from the audience, was ready for inspection.
‘Somebody call Mr. Walker,’ directed Again and everyone stood about in expectancy mixed with some anxiety. Finally Walker, appearing from somewhere, walked down the aisle of the theater. A moment of silence, then,
‘Where’s Mr. and Mrs. George Pat Wood?’ The call was taken up by those standing at the rear of the stage. Finally it reached the place where the Woods, scenic artists, happened to be.
A droll figure walked out and stood before the footlights. It wore a cap pushed back over short hair. Its body and legs were covered with paint smeared overalls, much too large. The bottoms dragged on the floor, concealing what appeared to be very small feet. But under the visor of the cap were two very alert, if startled eyes.
The figure looked like a larger edition of Jackie Coogan. Seeing it, Walker said in a somewhat positive tone, ‘Mrs. Wood, that is not the set I designed. It is nothing like it.’ So, the little figure was a woman, it seemed.
Mrs. George Pat Wood went one step forward and said quietly, “I’m sorry. I’ll come down where you are.’ And she scrambled into the darkness of the auditorium. There was something in her bearing which suggested a shattered dream, a keen disappointment.
A few moments later two bobbing heads were seen near one of the boxes. Then the petite Mrs. Wood scrambled back onto the stage and disappeared thru a door at the rear. After that came a readjustment of the lights, a softening of the tints, a mellower effect generally. And finally the voice of Walker again.
Oh, Mrs. Wood.’ The call again was repeated and Mrs. Wood, very feminine despite her overalls, came forward.
‘I spoke too soon, much too soon,’ said Walker generously. ‘It’s lovely.’
Mrs. Wood executed a sprightly little jig, just a few steps which indicated immense relief and pleasure.
And that was that, and all of it. But it showed that Walker makes his amends just as publicly as he does his criticisms.
The whole episode was just one of those little things which are a happening constantly around a repertoire theater but which not many people see.”
Portrait of Pat Woods in the article “Born to Blush Unseen,” 1927.
On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush Unseen” (page 33). The article reported:
“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.
From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.
Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.
And so this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.
Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’
‘Pat,’ as he is known by members of the Stuart Walker Company got his start in the scene-painting business when he visited his uncle in Chicago. This uncle, one Peter Donegan, is a sort of scenic baron in the Windy City, doing the stage sets for the Chicago Opera Company and for most of the large theaters. His studio proved a fascinating place to hang out, and presently the nephew began dabbing in paint. Soon he was a regular member of the force. And so he began, rather far up the line as scenic artistry goes, by designing stage sets for the Chicago Opera. Following other successful positions, Pat was retained to assist in fashioning stage sets for Max Reinhardt’s first production of ‘The Miracle,’ the most stupendous and magnificently stages spectacle the American stage has ever seen.
In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season.
Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”
George Pat Wood pictured in the “Cincinnati Commercial Tribune” in 1928.
On July 15, 1928, a portrait of Wood accompanied an article in the “Cincinnati Commercial Tribune” entitled, “Busy Building Italian Scenes For First Play on New Stage” (page 38). The article reported, “While members of the entire Stuart Walker forces are busy preparing to move to their new home at the Taft Auditorium at Fifth and Sycamore street, one member, George Pat Wood, artist of the Stuart Walker Company, is particularly busy at the Taft designing and painting the settings for ‘The Firebrand.’ For the past few weeks Mr. Wood and Stuart Walker have been panning the final arrangements for the scenery for this lavish production.
‘We have studied many old books and looked through volumes of Renaissance art to get the correct details for the production of ‘The Firebrand.,’ said George Pat Wood. ‘We really started brushing up on our early architecture last spring, when it was decided ‘The Firebrand’ would be one of the plays to be presented in Cincinnati this summer. In designing a setting there are many details that must be perfectly worked out. Color schemes must be in harmony with the spirit of the play as well as with the costumes that will also blend with it. In a play of a period, such as ‘The Firebrand,’ arches, windows, vases, lights and all very small trinkets that are seen from the audience must harmonize with each other.
‘In a period play the exact date of the piece will determine its architecture, naturally, but all the other articles, naturally, but all the other articles in the room must also be of the same period and keep the unity. There must be no anachronism, nothing that will break the illusion.’
When asked if he ever ran out of ideas in designing stage settings Pat Wood merely replied: As no two homes are ever alike, so no two stage sets are ever alike. If we study the spirit of the play we will know very nearly how the characters think, and with a little imagination we can picture their homes. That much accomplished, all there is left to do is to execute it. So you see it isn’t so very bad.
‘The scenery for ‘The Firebrand’ is dated about the early fifteen hundreds, and as the locale is Florence it calls for some very rich settings at the time when Medicis were in all their glory. The scenery must express the feeling of age, the romance and gayety of the Court of Florence, and the richness of the beautiful city. All this must be brought out without making the audience realize that they are being told all this as the curtain goes up and brings them into a new atmosphere. We hope that the settings for ‘The Firebrand’ will do all things.’
The beautiful stage settings of the Stuart Walker productions have been one of the charmingly distinctive features. Already this season the productions have brought forth no end of favorable comment on each play. Particularly attractive sets this year have been in ‘The Jest,’ a charming costume play presented earlier in the season, ‘Interference,’ ‘Crime,’ ‘Her Cardboard Lover,’ ‘The Baby Cyclone,’ and last week’s revival of ‘The Dover Road.’
All of these sets owe their beauty and charm to the combined work of Mr. Stuart Walker, George Pat Wood, and George Kinsey, the stage manager” (page 38).
George Wood and Stuart Walker enjoyed a very successful run. I have not uncovered any additional information about Mrs. George Pat Wood at all.
However, George Pat Wood continued to work for Stuart Walker. Their working relationship was the subject of a newspaper article on Jan. 29, 1929, published in the “Cincinnati Post” (page 2):
“Venice.
Although Stuart Walker still clings to house slippers and a chair by the fire because of his flu failings, he calls his players to his house every day for rehearsal. And he has worked out in his characteristically elaborate setting for the Venetian scene of the first act of “The Big Pond” for next week.
One sometimes suspects that his sets cost Dr. Walker more beads of hearts blood than do his artists. A performer can be tossed a script early in the week, then whipped, cuffed and cussed toward steady improvement. If he or she looks deplorable on Wednesday a director can strive for a better appearance by diligent application of the lash, so that a presentable portrayal may be forthcoming by the following Monday.
But a set is different. Once “cast,” it’s done. You can’t expect it to grow doggier or any worse.
Consequently, the aesthetic Mr. Walker ties himself 18 knots every time he evolves instructions for a stage scene.
When [Stuart Walker] and his artist, George Pat Wood, conferred in the Eden Park mansion of the producer it must have been almost terrifying, considering the fury with which Mr. Wood blasts smoke and sparks from his pip even when calm and the zeal with which Dr. Walker flagellates his soul when thinking up eyeful settings.
The two of them wrestle beauty for every show, almost always turning out something convincing. One of the very few times when they have felt they missed their mark came in the set for “Treasure Island” which showed an English quay. Somehow that did not look exactly British and it seemed a trifle too lovely in a Latin way for the situation.
But since Dr. Walker knows more about scenery that your deacon ever will dream of, we take it that his quay set had in it something artistic which passed quietly over our brow. The Venetian scene for the next week is to show a palace in which lives a bizarre American family. The set must be persuasively imposing to bring out the artistic shortcomings of the Ohio people moving through it. It is exactly the thing on which Dr. Walker likes to cast up wave on wave of devotion.”
After years of existence, the Cincinnati Stuart Walker Company was incorporated on July 1, 1929, in Cincinnati. It only lasted a few years, and was dissolved on Dec. 29, 1931; it did not survive the economic downturn.
The last article that I have located about George Pat Wood as a scenic artist is from the fall of 1930. On Nov. 16. 1930, “The Cincinnati Enquirer” reported, “George Pat Wood, scenic artist at the Taft, designed and painted his settings for “Monna Vanna” from color plates used in Stuart Walker’s earlier production of the Maeterlinck play here three years ago” (page 71).
This is the last reference that I have found citing Wood as a scenic artist. As with many theatrical scene painters at this time, it is likely that Wood sought work as a decorative painter to keep afloat during the Great Depression.
At some point, Wood returned to his remaining family, as Rudolph and Della Luedewink were still living in St. Louis. His move may have been prompted by aging parents.
In regard to Wood’s mother and stepfather …
Rudolph Luedewink was still listed in the 1931 St. Louis Directory as a painter a 4245 St. Louis Ave. This is about the time that George Wood returned home.
His mother passed away in 1934, with her obituary published in the “St. Louis Post-Dispatch” on March 7, 1934 –
“Luedewink, Della (nee Donahue) – Entered into rest Mon. March 5, 1934, 4:20 PM, beloved wife of Rudolph Luedewink, dear mother of George Pat, Arthur F. and the late Walter J. Wood, our dear grandmother and aunt. Funeral from Arthur J. Donnely’s Parlors, 3840 Lindell bl. Thurs., March 8, 9 a.m., to Notre Dame Church, Interment Calvary Cemetery. Alton (Ill) and Chicago (ILL) papers please copy.”
Her son Arthur was listed as the informant on her death certificate when she passed away from pneumonia. At the time of her passing, Della was living with her son Arthur at 1328 Annie Ave. By 1930 Arthur F. Wood was employed as a mail carrier, a profession that he continued for the remainder of his life. He married Mabel Eppley late in life, celebrating the birth of a son late in life, James A. Wood.
George Wood’s WWII Draft Card listed him as running his own Interior Painting & Decorating business. His wife was listed as Frances Wood and the two were living at 5645 Summit Place, St. Louis. I have yet to locate another other significant mention or further information about the couple.
George Patrick Wood died in Dec 1980 and is Buried at Calvary Cemetery and Mausoleum in St. Louis. His first wife, Alice V. Chalfant Wood Knox, was laid to rest in the same cemetery a year later. Their daughter, Joy Wood Knox MacKinnon (1918-2007), is also buried at Calvary Cemetery and Mausoleum.
The gravestone of scenic artist George Patrick Wood.
Painted detail from the Twin City Scenic Co. drop curtain delivered to Shieldsville, Minnesota, c. 1914-1915.
My relationship with the Church of St. Patrick in Shieldsville, Minnesota, began in 2015. That fall, the office administrator, Tracy Velishek, contacted me about preserving an historic backdrop.
She wrote:
“Wendy, Attached is our old social hall which will be torn down in December. The other is the backdrop we would like preserved. I got pictures of the other backdrop but am not very techy and cannot figure out how to send it to you from my phone. I will have my son help me later today. It is our understanding that the building was an opera house in its early days. We are trying to find out what we can about it. Thank you for your time. I look forward to hearing from you. I have the backdrop we want to save in our new social hall rolled up so after Thursday I will know a timeline as to when we will be doing something with it.”
Picture of old St. Patrick’s social hall sent to me in 2015.
Musicals and dramas were presented in the Church of St. Patrick’s parish hall under the ministry of Father John J. Molloy (1866-1962). He served at the Shieldsville parish for 52 years, from 1909 to 1961. By the way, this was the first Irish Catholic parish in the State of Minnesota, founded in 1856.
Rev. J. J. Molloy was responsible for purchasing scenery from the Twin City Scenic Co. in 1914.
Molloy’s service was included in Margaret Hagerty’s 1940 publication “Meet Shieldsville: The Story of St. Patrick’s Parish Shieldsville.”
Hagerty’s entry for Rev. J. J. Molly:
“Rev. John J. Molloy was born in the County Mayo, Ireland, and was educated at St. Patrick’s college in Kildare. He was ordained at Maynooth in 1891 and a few months later came to America. He was assistant pastor at St. Patrick’s in St. Paul from October 1899 to April 1900 and then spent one year at St. Mary’s in St. Paul. The next three years he was assistant pastor at St. Anthony’s in Minneapolis. He then organized St. Joseph parish in Montevideo and was in charge there three years. The next two years were spent at St. George’s parish at Glencoe and then nine years were spent at St. Mary’s, Wilmar. He came to Shieldsville in 1909 and for the last thirty years has made a splendid record. “Father Molloy faced a tremendous task when he arrived in Shieldsville. The place was sadly run down and in need of repairs, so he astounded us all by taking off his coat, rolling up his sleeves and going to work. Up to that time none of us knew that a priest’s coat or a Roman collar were removable, He had the house remodeled, cleaned, and painted. The church too was redecorated, and the landscape worked over and improved. A new fence was built around the cemetery. To keep the young folks near home for entertainment a pavilion as built in the grove, and it proved to be such a success that Father Molloy was encouraged to build St. Patrick’s hall. Much of the work on the hall was donated and every man in the parish was busy. The women raked their brains to think up ways and means to pay for the lumber and furnish the kitchen. It was a delightful change for the ladies of St. Patrick’s parish to have a spacious kitchen to work in and to have a dining room large enough to serve 100 people at a time.”
In 1961, Father Molloy was observed as the oldest priest in the St. Paul Archdiocese and the priest with the longest service, serving under four bishops. He passed away on June 29, 1962, and is buried in St. Patrick Cemetery at the site of the Crucifixion monument, erected in the 1950’s.
Molloy’s dramatic contributions were again remembered in “History of Our Parish,” written by Catherine Spartz in 1971:
“Father Molloy loved people around him and believed in having the social life of his parishoners inherent with their religion. Musicals and dramas were presented in the hall during Father Molloy’s ministry, with the principal performers, members of the parish. St. Patrick’s day in March and the Feast of the Assumption of the Blessed Virgin in August were special times in Shieldsville, Father, who himself had a beautiful speaking and singing voice, organized an outstanding choir.”
The St. Patrick’s Hall stock scenery collection was delivered by the Twin City Scenic Studio, c. 1914-1915, and included a drop curtain, two painted grand tormentors, a garden roll drop, a rocky mountain roll drop, four folding wood wings, a double-painted interior set (center door fancy/rustic interior), and an advertising curtain.
Painted detail from garden drop.Painted detail from folding wood wing.Drop curtain detail with Twin City Scenic Co. signature.
Over time, the stage fell into a state of disrepair and much of the stock scenery found its way to an attic where it was subjected to water damage from roof leaks and stains from bat guano.
Two interior flats brought to the new social hall while I was working on site in 2017.
In December 2015, the old social hall was torn down, but the scenery survived. At the time, Tracy’s son (Andy Velishek )was running a local theatre troupe and hoped that the flats could be repaired and used for upcoming productions. Despite the filth that covered the scenery, Velishek rescued the scenery and stored them in a barn.
There, they sat in relative safety for the next two years.
Conversations with the Church of St. Patrick resumed during the spring on 2017 when I was contracted to restore the ad drop and install it in the new social hall.
Restored Ad Drop. 2017.The new social hall is pictured on the right side.
While working on site that summer, Andy Velishek brought over some of the other salvaged scenery, including the two other roll drops, the woods wings, grand tormentors, and some interior flats. Despite the extensive damage, their beauty was unmistakable.
Before and after restoring the Drop Curtain. 2018. The greatest challenge was identifying the original colors, as so much of the composition had dusted off and was faded.Painted detail showing before and after restoration. 2018.
Studio stencils and shipping tags clearly indicated the collection’s artistic provenance.
The backside of stock flat delivered to Shieldsville in 1914.Shipping tag clearly noting Rev. J. J. Molloy as recipient.
By the beginning of 2018, I restored the three remaining roll drops – drop curtain, garden drop, and rocky mountain pass.
Removing bat guano from the garden drop.Matching distemper colors and restoring areas with paint loss in 2018.The restored garden drop and rocky mountain pass in the new Church of St. Patrick Social Hall. 2018.The Social Hall at the Church ofSt. Patrick in Shieldsville, Minnesota, where four of the historic drops are displayed. 2018.
They were installed in the new social hall attached to the sanctuary at the Church of St. Patrick’s in Shieldsville. When I delivered and hung the drops that spring, I considered my work with the St. Patrick’s Hall scenery collection over.
I was surprised to receive the following text on Nov. 4. 2022:
“Hey there, Wendy. Tracy Velishek here. Don’t know if you remember me but you finished our backdrops at St Patrick in Shieldsville a few years ago. I hope you are doing good and still doing the work you love… Our son Andy still has a bunch of flats that he has to get rid of because he has run out of room…Do you know if anyone who would want them? They have not been cleaned and one or two have some tears…If he doesn’t find someone to take them, he is going to burn them. I would hate to see that and hope you would know of SOMEONE who would want them. I look forward to your reply.”
Burn them…if she had texted anything else, I may have put this project on hold for a few months. I was opening a show that evening and traveling to the Louisville Scottish Rite theatre for a restoration project the next week.
The Gilbert & Sullivan Very Light Opera Co. “Pirates of Penzance” setting, 2022. Distemper paint (dry pigment paste and diluted hide glue) was used for the entire set (facade, drop curtain, wings, borders, shutters, and painted fabric masking).
After striking Gilbert and Sullivan Very Light Opera Company’s “Pirates of Penzance” on Nov. 20, I found myself driving south to Lonsdale, Minnesota, where the historic scenery collection was now stored. Half of my rental trailer was occupied with set from “Pirates.” It was a small wing-and-shutter stage.
A grand tormentor and foliage wing when the were set up in the new social hall at the Church of St. Patrick in Shieldsville, Minnesota. 2018.
The other half of my rental trailer was reserved for the historic scenery. Amazingly, the St. Patrick’s Hall stock flats would also work in my small Pirates stage.
When I picked up the scenery, Tracy gave me a big hug and handed me a gift bag with four jars of their homemade jelly. Historic scenery and a bag of jelly; who could ask for more?
My bag of jelly from Tracy when I picked up the scenery.
The scenery is currently at my studio, awaiting cleaning, repair, and a second life on the stage. I will continue to update this post as each piece is restored and displayed.
The historic flats, as they are currently stored in my studio.
My recent scenery restoration project at the Louisville Scottish Rite Theater began three years ago in 2019. These projects are often years in the making, and it really takes the right person to set the ball in motion. I have watched scenery collections crumble from both indecision and poor stewardship. Time is often of the essence when historic scenes start to fail. Scenery that survived decades against an upstage wall can rapidly deteriorate over the course of a few years if the conditions are right.
My initial visit to the Louisville Scottish Rite was a side trip while attending USITT (United States Institute of Theatre Technology). Whenever I attend the annual conference, I try and schedule a visit to a nearby Scottish Rite theatre or historic opera house. These side trips provide me with an opportunity to learn and document “just one more” scenery collection.
Visiting the Louisville Scottish Rite during the USITT conference in 2019.The Louisville Scottish Rite Auditorium.The Louisville Scottish Rite.
The only day that I could photograph Masonic scenery while attending USITT in 2019 was on Wednesday, March 20. Preparations for the Scottish Rite reunion were scheduled to start the next day. I had from 9AM to 3PM to document as much as possible and make my way back to the convention center for a meeting.
I must have made an impression, as the Louisville Scottish Rite hired me that fall to assess the collection. I was contracted to compile condition reports, historic analyses, and replacement appraisals for each drop in the collection. My documents that December were so well-received that I was asked to visit Louisville and present my findings at a special event.
The Egyptian Setting for the 31st degree was one of six settings featured during my presentation on March 7, 2020.
On March 7, 2020, I was the guest speaker for Family night at the Louisville Scottish Rite. I gave a presentation about their historic scenery collection, tracing the history of Masonic scenery in the United States and placing the Louisville Scottish Rite scenery collection withing the context of American theater. At the time I was also asked to work as an historical consultant for upcoming interior renovations throughout the building. After speaking at the Scottish Rite in Louisville in March 2020, the pandemic put everything on hold.
March 2020 – May 2022
Eventually, I lost touch with the Louisville Scottish Rite and moved onto other projects, yet the Louisville Scottish Rite scenery collection continued to lurk in the back of my mind. Surprisingly, Randolph Starks, Secretary of the Louisville Scottish Rite, reached out again last spring. On May 2, 2022, I received the following text: “Hi Wendy. It has been a very long time since we spoke, but I have enjoyed seeing your Facebook posts, the reports of your travels, and the images of your beautiful artwork. I would like to renew our conversation about you providing advice and guidance on some renovation and painting of our Scottish Rite temple. Let me know when you would be available to schedule a phone call to discuss this.” I received this on the same day that my mother went into the ER, so our conversation was again placed on hold for a few more months.
Stark contacted me again on June 29, 2022, but for another reason.
I received a series of pictures of the Egyptian cut drop, with the text message, “Hi Wendy. We just discovered this damage to this scenery drop today. I don’t know how it happened. I would like to know if it would be possible to repair and restore it.”
Damage to the Egyptian Cut Drop at theLouisville Scottish Rite.Damage to the Egyptian Cut Drop at theLouisville Scottish Rite.
My response was, “Yes. You will need to take the drop down, or damage will continue- I am mid-project, but can chat tomorrow afternoon.” Realistically, I was in no position to take on another project and knew that I would have to mostly advise from afar. Starks gathered a team to lower the drop, and I then directed its preparation for short-term storage, until I could travel to Louisville that fall. We tentatively scheduled my visit for November. I would not only repair the scene, but also advise on some upcoming interior renovations. I was also scheduled to again speak about the history of the Louisville Scottish Rite scenery (another Masonic event on Nov. 10, 2022).
Repairing the Egyptian Cut Drop
Unfortunately, there were a series of obstacles to overcome before rolling and storing the cut drop to await my future repairs. The first obstacle was removing wood from the backside, as several “stiffeners” were glued to the cut edge. Many cut drop openings without netting for support curl over time. As a preventative measure, some scenic studios attached wood stiffeners upon installation. These stiffeners were frequently thin strips of pine that were secured to the drop with a strip of glued muslin. Removing an original stiffener is often simple, as the fabric and wood easily peel off of the fabric.
Over the decades, Masonic stage crews tried to replicate this technique. Unfortunately, instead of using thin strips of light-weight pine, they improvised, using a variety of hard woods and solvent-based or inappropriate adhesives. Over the years I have encountered oak strips attached with contact cement (Wichita, KS), lathe attached with wood glue (Fort Scott, KS), yard sticks attached with plaster of paris (Fargo, ND), just to name a few.
Patch on a cut drop at the Scottish Rite Theatre in Fargo, North Dakota.
In Louisville, however, an enterprising Mason opted for a black substance that looks like coal-tar pitch; this was a new one to me.
Photograph sent to me by Jordan Morgan, showing stiffeners attached with a black adhesive.Wood attached to the backside of many cut drops at the Louisville Scottish Rite.
In addition to the stiffeners, ¼”-thick black flexible foam was secured to all of the cut edges with spray adhesive. Sadly, I have encountered this before too, at the Scottish Rite in Cheyenne, Wyoming. Although it works in the short term, it wreaks havoc when repairs need to occur. In Louisville, a solvent-based spray adhesive was used, partially melting the foam and permanently affixing it to the backside of the drop.
Removing the flexible foam from the Egyptian cut drop.
And there was one more thing…
The original netting in the cut opening was replaced with plastic netting that was hot glued on.
Plastic netting attached with hot melt glued, placed over original cotton netting.
Although I feel like a broken record, constantly repeating myself, here goes…NEVER use hot melt glue on historic stage scenery. Hot melt glue has no place in historic preservation, as it severely damages fragile fabric, embedding itself in the fabric’s fibers. Often the hot melt glue is even visible from the front, marring a once beautifully painted composition. Attaching anything to historic scenery with hot-melt glue makes the repair irreversible and flammable. It is especially unfortunate if the new netting is plastic or poorly positioned in the cut opening. Both were the cases with the Egyptian cut drop at the Louisville Scottish Rite. When conducting the initial examination of the scenery, I recognized that the plastic netting would have to remain, as there was so much hot melt glue applied to the fabric that it is now permanently affixed to the cut drop.
The stiffeners, foam, and plastic netting prohibited any expedient storage of the scene last summer until my fall arrival. Fortunately, one diligent Masonic volunteer, Jordan Morgan, spent over thirty-hours removing both foam and wood. Despite his diligence, some areas were left for me to deal with once on site. As I expected, removing the foam and stiffeners could not occur without damage to the painting and fabric. Some of the foam remains firmly adhered to the cut drop.
Egyptian cut drop with flexible foam around cut openings.Removing the flexible foam.
My trip to repair the scenery was slotted for November. During my stay, I would not only fix the damage to the cut drop, but again speak as a guest lecturer and continued to function as a historical consultant for a few anticipated interior renovations.
On the afternoon of Nov 8, 2022, my plane touched down and I was off to the races. This was well after casting my vote at 7AM; it was election day, and I was thankful that the Minnesota polls open so early. After renting a car, checking into my hotel, changing into work clothes, and driving to the Scottish Rite, I began the slow process of setting up the workspace. Once everything was set, I carefully unrolled the damaged cut drop and assessed the damage, simultaneously planning my attack. Despite the dozens of pictures that were sent, nothing replaces examining the damage in person. I went to bed that night, weighing the pros and cons of various approaches to the damage.
The Egyptian cut drop on the stage at the Louisville Scottish Rite.Beginning the repair
Arriving at the Scottish Rite the next morning, I met my onsite assistant, Jordan, and we began the painstaking process of cleaning both the cut drop. This is necessary before any fabric repair.
Cleaning the backside of the fabric prior to repair.
I focused on the biggest damage, before tackling the dozens of small punctures. By midmorning, I realized that the project would go far beyond patching visible damage. I had to do some preventative care – placing vertical reinforcement strips on every seam and weak area. The culprit of the anticipated damage? Flame retardant.
Split seams caused from repeated applications of flame retardant over the decades.
A repeated application of flame retardant often causes the greatest damage to historic scenery; it is like giving the drop cancer. Applying different flame retardants over the decades creates a toxic environment for the fabric and the very fibers begin to break down. Therefore, I need to help support the fabric so that the weight of the fabric will not cause stress that results in tears.
Now, I was dealing with a few different problems. The central portion of the drop is much older than the top and the bottom; the oldest portion dating from the previous building, c. 1910. Toomey & Volland Scenic Studio records indicate that scenery was delivered to the Louisville Scottish Rite in 1910.
Original fabric (below) and fabric extensions (above) added in the 1920s.Original fabric (below) and fabric extensions (above) added in the 1920s.
These drops were later refurbished, enlarged, and installed in the current building during 1923. Over the years, there have been several alterations made to the collection. Initially, the top sandwich batten was removed and replaced with jute webbing and ties lines. This likely occurred when the 1910 scenery was refurbished and moved into the new building. The first-generation bottom sandwich battens were replaced with pipe pockets at this time too.
Flexible black foam attached to the cut edge with spray adhesive.
However, over time, as the pipe pockets failed, ripping off, second-generation pipe pockets were added, the latest being thick, clear plastic that was glued to the back.
Plastic pipe pocket glued to the back of a Louisville Scottish Rite backdrop.
Additional scenery was purchased from Volland Studios between 1951 and 1952, then again in 1968.
Additional repairs, fabric reinforcements and attempts to consolidate loose pigment occurred continuously over the decades. For example, olive green edging (similar to a coarse bias tape) was sewn onto the offstage edges. This was an early attempt to prevent tearing from contact. Although this has prevented some damage and deterioration, the actual sewing greatly damaged the painted surface and has weakened the fabric over time. Other drops have large pieces of mesh glued to the entire back, possibly an attempt to prevent rips. However, the added weight is now jeopardizing the top of each scene.
Mesh glued to some of the backdrops at the Louisville Scottish Rite.
Over the course of three days we cleaned, patched, and reinforced the fabric of the Egyptian cut drop. Paint touch-up of visible patches will occur on my return. I only transport my distemper palette by ground, and therefore will drive on my next trip.
On the morning of Nov. 12 (my fourth day), I supervised the hanging of the repaired cut drop. Everything looked perfect!
Front view – the repaired cut drop.The repaired cut drop, as viewed from behind.Details of repaired damage. Egyptian Cut Drop. Repair work Completed from Nov. 8-12, 2022.
I then assessed the remainder of the collection and began planning for the complete preservation of the entire collection.
Painted detail from another Louisville Scottish Rite scene.
By the afternoon I was on my way home, only 96 hours after my arrival. It was an action-packed trip that I have yet to recover from.
In regard to the history of the Louisville Scottish Rite scenery, my research indicated that Kentucky may have been the earliest state in the Southern Jurisdiction to use stage scenery for their degree work. Here is an excerpt from the document that I submitted in 2019 as it helps frame the significance of the scenery collection and my restoration project.
“The History of Degree Productions at the Louisville Scottish Rite.
Scottish Rite Valley’s bordering the geographical demarcation between the Northern and Southern Jurisdiction were experimenting with stages in Masonic Halls and common lodge room long before the first “official” Scottish Rite theater was constructed in the Southern Jurisdiction, c. 1890s. The earliest Scottish Rite stages frequently referenced in the Southern Jurisdiction are Little Rock, Arkansas and Oakland, California in 1896. Theatrical staging of degree work in Louisville, Kentucky, may have predated these two Valleys, signifying the inclusion of the earliest Masonic stage settings in the Southern Jurisdiction.
The Wilkes-Barre Times of Pennsylvania, the Arizona Daily Star of Tucson, and the Akron Beacon Journal of Ohio all published the following article in 1895:
“BIG SCOTTISH RITE DEDICATION. Louisville, Ky., Oct. 15 – The Scottish Rite Cathedral of the Ancient and Accepted Scottish Rite for the Southern Jurisdiction of the United States, at Sixth and Walnut street was dedicated today. This dedication surpassed anything ever seen in Masonic ceremonies in this city. It was open to the public, and conducted with all the pomp, which the occasion calls for. The remainder of the inaugural week will be given in reunion, during which all degrees will be conferred. The new cathedral in point of general magnificence is surpassed by only two in the United States, those being cathedrals of the Grand Consistories of Illinois, at Chicago, and of Ohio, at Cincinnati.” Both Chicago and Cincinnati boasted theatrical stages with elaborate scenery collections, but they were in the Northern Jurisdiction.
The article also notes, “All degrees will be conferred,” which translates to “all degree will be dramatically presented” aligning with the staged degree productions in the Chicago and Cincinnati Scottish Rite theaters at the time.
The Grand Consistory, Ancient and Accepted Scottish Rite, was organized in Louisville, August 21, 1852, with meetings being held on the Southwest corner of Fourth and Jefferson Streets. By August 1876, the Louisville Scottish Rite occupied the Courier-Journal Building, located on Jefferson Street, between Third and Fourth Street. In 1894, the Louisville Scottish Rite Bodies purchased the St. Paul’s Episcopal Church at Sixth and Walnut Streets. The church has been partially destroyed by fire when they acquired the building, and approximately $41,000 was spent on remodeling the facility. By 1895, it was dedicated as a Scottish Rite Cathedral. This predates what Little Rock and Oakland would do in 1896; remodel an existing space to include a Scottish Rite theatre to fully confer, or stage, the degree work. This Louisville Scottish Rite building was used until 1923, when their new home was constructed at Brook and Gray streets.
In 1910, Toomey & Volland business records note that they delivered a scenery collection to the Louisville Scottish Rite. This scenery would have replaced the original scenery installed in the renovated Episcopal Church space. Churches were perfect buildings to retrofit with theatrical stages for degree productions.
There is not yet a definitive indicator of the scenic artist or studio that first delivered the original scenery in 1895. However, it was not Toomey & Volland, as the firm was not established until 1901. Toomey and Volland delivered scenery to the Louisville Scottish Rite Cathedral in 1910, with many of their backdrops being refurbished and transported to the new building during 1923. This was a common practice throughout both the Northern and Southern Jurisdiction at the time. The Guthrie, Oklahoma, Scottish Rite even reused and transported their 1910 scenery collection to the new building during this same time.
The first Scottish Rite Cathedral in Louisville was a remodeled building. St. Paul’s Episcopal Church at Sixth and Walnut Streets was renovated for Scottish Rite purposes in 1895. From this moment forward, the Masonic membership in Louisville continued to grow at a rapid rate, as was common with many other Valleys that began producing degree work for the stage. By 1919, Louisville’s Scottish Rite candidate class size numbered 200, and the overall membership began exceeding the building’s capacity.
During the 67th annual spring reunion in 1919, the president of the “Victory Class “of Scottish Rite candidates introduced a resolution. Dr. T. H. Tuley urged, “the Grand Consistory immediately to make plans for the erection of a [new] Scottish Rite Cathedral in Louisville which will prove a credit to the Rite and to the city.” The Courier-Journal reported, “the reading of the resolution was greeted with applause, and from the manner in which the proposition was received it seems possible some steps in this direction will be taken” (26 April 1919, page 4).
Previously, the Courier-Journal reported, “Largest Class in History of Consistory Attending Scottish Rite Meeting. 200 At First Dinner” (23 April 1919, page 9). The session opened at 10AM on April 22, with conferring the Lodge of Perfection degrees (4-14). The article noted, “For several months the Scottish Rite has been practically overwhelmed with applications for membership, every Masonic lodge in the State reporting unusually large numbers of initiates.
The result has been that for the first time in many years it has been necessary to hold two spring Scottish Rite classes, the first one having completed work only about ten days ago.” Capt. John H. Cowles, sovereign grand inspector general of the Supreme Council of the Rite, was interviewed by the Courier-Times. The newspaper reported, “He says unusually large classes are being accepted into the rite in all consistories of the southern jurisdiction. He was highly pleased with the showing made by the Louisville lodge, especially in view of the fact that he received his degrees here and is a native of Kentucky, having lived for many years in Louisville.” In 1919, the Louisville Scottish Rite premiered a four-page publication for attendees titled “The Reunion News.” It was published every day during the Scottish Rite reunion. Interestingly, the Scottish Rite once met in the same building as the local newspaper, the Courier-Journal.
Scottish Rite membership was explosive during the 1920s, and the influential power of the Freemasons was substantial. This is a moment in time when the Rite, especially the Louisville Scottish Rite, was very vocal about their activities and positions on both political and social issues. From the late-nineteenth century to early twentieth century, it was not unusual to find detailed information pertaining to daily activities at Scottish Rite reunions, a list of members, the history of the organization and their stance on public and political topics. For example, the views of the Rite regarding public education were published in the local newspapers for all to read. When a potential candidate thought about joining a particular Scottish Rite, there was no question in his mind about what the organization stood for and could determine in advance if it was a good fit. This may be why the Scottish Rite continued to gain ground and dominate the fraternal landscape of America during the late-nineteenth and early-twentieth centuries.
In regard to the construction of their new home, on May 11, 1923, the Courier-Journal published, “Scottish Rite Masons will begin a three-day campaign May 23, to raise the $300,000 necessary to complete their building fund for the proposed $750,000 cathedral at the southwest corner of Fourth and Breckinridge Streets. Ground for this structure will be broken in September, it was said. The cathedral will have four stories and basement, with an auditorium seating 1,350 persons. Solicitation will be from the 2,286 members in the State of which 1,200 are in Louisville, The campaign will be in charge if Benjamin S. Washer, Richard Priest Dietzman, Edward F. Metzner, Harvey White and Dr. E. L. Henderson” (page 18).
On June 27, 1923, the old Scottish Rite was sold, becoming the new R. E. Jones Temple, Methodist Episcopal Church. On September 9, 1923, the Courier-Journal announced, “The contract for the construction at Fourth and Breckinridge Streets will be awarded shortly after bids are opened about October 15” (page 34). The building was sold to the Methodist Episcopal Church, becoming the R. E. Jones Temple. Rev. Dr. Robert Elijah Jones (1872-1960), namesake for the new church, was also a 33rd degree Scottish Rite Mason. Within a year, however, tragedy struck the old Scottish Rite building. On May 27, 1924, the Courier-Journal reported “Five Firemen and a negro preacher were overcome by smoke last night when flames of undetermined origin ignited debris in the basement of the R. E. Jones Temple, formerly the Scottish Rite Cathedral at Sixth and Walnut Streets” (page 5).
There is one thing to consider about the original Scottish Rite stage and scenery when the Louisville Scottish Rite Cathedral changed ownership. When the building became the R. E. Jones Temple, it is highly unlikely that any fraternal artifacts or decorations were left behind. This means that the old scenery, stage machinery and other stage equipment was either returned to scenic studio (for credit on the purchase of a new collection), it was enlarged for their new stage, or it was sold to another Scottish Rite. To all indications, there remains a significant amount of scenery used by the Louisville Scottish Rite that predates the current building, c. 1910.
In 1910, the Louisville Scottish Rite purchased scenery from Toomey & Volland. Interestingly, Toomey and Volland advertisements from 1912 do not list Louisville alongside fifteen other Scottish Rite Cathedral installations by that time, suggesting that they may have only been adding to a previous purchase. Toomey & Volland could have simply expanded an earlier collection, possibly the one delivered in 1895. There is a distinct possibility that scenery was delivered by the precursor to Toomey & Volland – the scenic studio of Noxon & Toomey.
Thomas C. Noxon was a Freemason, and extremely active in the Shrine. Also, in 1895, Noxon & Toomey delivered stock scenery to Louisville’s Amphitheatre Auditorium. This may have been the crucial connection, a preliminary link with Louisville Masons and the scenic studio of Toomey & Volland. It would not be surprising to learn that Noxon visited the Scottish Rite while installing scenery for another theatrical venue; a common practice among scenic studio owners at the time.
It remains uncertain as to whether the major Scottish Rite scenery supplier to the Southern Jurisdiction at the time, E. A. Armstrong Manufacturing Co., delivered any scenery to the Louisville Scottish Rite Cathedral. Scottish Rite minutes may point to a specific vendor. If the theater work was contracted to E. A. Armstrong, Sosman & Landis were the preferred subcontractors in the mid-1890s, the scenic studio who manufactured and installed the scenery for this fraternal supplier. However, the Louisville Scottish Rite is not listed in a 1902 E. A. Armstrong advertisement that notes all the Consistories they had equipped since 1897. Keep in mind that was after the potential 1895 date of delivery. If it was manufactured at the Sosman & Landis studio, David A. Strong would have been the Masonic designer and primary scenic artist for the earliest Louisville collection due to his early Masonic affiliation. Strong was instrumental in producing much of Chicago’s Scottish Rite scenery for stages starting in 1873; this was the other Masonic theater that Louisville was compared with in 1895.
There are two other possibilities in regard to regional artists who may have created the original 1895 scenery collection Louisville Scottish Rite Cathedral –scenic artists E. T. Harvey or Henry C. Tryon.
Harvey was the scenic artist who designed, painted, and installed Scottish Rite scenery collections for Cincinnati in 1886 and Cleveland in 1901. In 1886, Harvey delivered eighteen sets of scenery to the Cleveland Scottish Rite Cathedral’s stage. Keep in mind that Louisville’s 1895 Scottish Rite Cathedral was compared with the Cincinnati Scottish Rite Cathedral in the newspaper article; “The new cathedral in point of general magnificence is surpassed by only two in the United States, those being cathedrals of the Grand Consistories of Illinois, at Chicago, and of Ohio, at Cincinnati.”
Tryon was the scenic artist credited with scenery and stage machinery at the Indianapolis Scottish Rite a few years earlier in 1883. Both Harvey and Tryon were close friends with Thomas G. Moses, who was in charge of the design, painting, construction, and installation of all Scottish Rite scenery at Sosman & Landis (Chicago) after 1904.”
There is so much more that I could write about this project and the collection as a whole, but I need to pause here. For more posts about this collection, keyword search “Louisville Scottish Rite.”
Victor Hubal was associated with Sosman & Landis between 1905 and 1917. Hubal began working as a scenic artist at the age of 17 in 1905, starting with the firm about the same time as John Hanny and Art Oberbeck. Like Hanny and Oberbeck, Hubal’s scenic art career spanned for decades. His scenic art appeared in a variety of venues across the country.
Victor Hubal (right) pictured with George Wood (left) in Winnipeg, 1912.
Hubal’s employment at Sosman & Landis was mentioned in a Kentucky newspaper at the beginning of 1912. At the time, Hubal was painting scenery for the Garside Stock Co. at the Kentucky Theatre in Paducah, Kentucky. On January 12, 1912, Paducah’s “News-Democrat” announced, “Mr. Victor Hubal, of the Sosman-Landis studio, Chicago, has been engaged to paint all scenery and is now hard at work at the Kentucky on the first production. ‘The Devil’s Kitchen.’” Two days later, the same newspaper reported, “Mr. Victor Hubal is the scenic artist, and has been connected for several years with the Sosman & Landis Studio in Chicago – which is proof positive that theater-goers of Paducah will have an opportunity of seeing some beautiful scenery twice a week at this popular playhouse” (page 6).
This meant that in 1911 Hubal was selected from the Sosman & Landis staff to paint the new scenery for the Garside Stock Company. Operated by James S. Garside, the company secured a a fifty-week engagement at Paducah’s Kentucky Theater, performing two plays each week. Hubal painted much of the stage settings on site The Garside Stock Company’s 1912 repertoire included “The Devil’s Kitchen,” “Love and Honor,” “Dora Thorne,” “In the Rogue’s Gallery,” “Driven From Home,” “A Soldier’s Sweetheart,” “The Bowery Girl,” “Thorns and Orange Blossoms,” “The Queen of the Ranch,” “To Be Buried Alive,” “A Romance of Fort Riley,” “Brother Against Brother,” “A Struggle of Life,” “Her Cowboy Visitor,” “The Power of Woman,” “St. Elmo,” “The Embezzler,” and others. On Dec. 1, 1912, a picture of Hubal’s painted setting for “The Embezzler” was published in the “News-Democrat” of Paducah, Kentucky (page 6).
Victor Hubal’s scenic art in 1912.1912 advertisement for the Garside Stock Co. in Paducah, Kentucky,
Another article about Hubal’s scenic art for Garside was published on January 15, reporting, “Each play will be a production from a scenic point of view, as Mr. Vic Hubal, of the Sosman & Landis studio, Chicago, has been engaged to paint all the scenery, and is now hard at work at the Kentucky on the first production of ‘The Devil’s Kitchen,’ which will be the bill for the first three days, Monday, Tuesday and Wednesday.”
Throughout 1912, newspaper articles provide a glimpse into the scenery carried by the Garside Stock Co., as well as Hubal’s career. On March 28, 1912, the “Dubuque Telegraph Herald” reported, “Car Load of Scenery Arrives – The Burlington passenger train from St. Paul brought a carload of stock scenery for the plays to be presented by the Garside Stock company. The company will produce two new plays next week and return to the road tour, returning here for the summer season at the Airdome in June. Mr. Victor Hubal, the scenic artist, who made all the scenery for the Airdome productions has been with Mr. Garside all winter and will return here for the summer” (page 5). On July 29, 1912, the “Dubuque Telegraph Herald” review of Garside’s “The Heart of Arizona” production, reporting “Victor Hubal, the scenic artist of the company is deserving of praise for the scenery” (page 8).
On June 8, 1912, “The Dubuque Telegraph Herald” heralded Hubal’s scenery for “St. Elmo” at the Airdome, produced by the Rosenthal Summer Theatre. The article reported, “Victor Hubal, the scenic artist of the company outdid himself in making new embellishments for this play, and included a beautiful church interior setting showing the full figure of Christ in stained glass with lighting effects to make it stand out beautifully in the act” (page 5). He also painted special scenery for “An American Girl” at the Airdome that summer (“Dubuque Telegraph Herald” 11 July 1912, page 2).
As most Sosman & Landis scenic artists, Hubal crisscrossed the country, even venturing into Canada. Family photos picture Hubal with Fellow scenic artist George Wood, both painting for the Winnipeg theatre. At the time, Hubal was 24 years old (see first photo in this post).
Victor Hubal (left) and fellow scenic artists in front of an ad drop. No definitive date, but my guess is 1906-1909. From the family album.Victor Hubal (sitting left) and fellow scenic artists in front of a stage set. No definitive date, but my best guess is 1920. From the family album.
Although I have written quite a bit about Hubal in past posts, here it is again…
Victor J. Hubal was born in Chicago on May 10, 1888. His father, Felix Hubal (b. Nov. 1861), was a Czech immigrant and baker. His mother, Theresa Mary Koranda (b. 1864), was born in Illinois and worked as a seamstress. By the age of 22 yrs. old, Victor Hubal was still living with his mother and two siblings, Otto (20 yrs.) and Lucy (18 yrs.). Their address was 3528 W. Cortland St.
The 1910 census report listed that Hubal was an “artist”; he was actually working as a scenic artist. His sister worked as a stenographer, while his brother was unemployed that year. Although Hubal’s scenic art career began in 1905, little is known of his early work, but this is understandable since he was apprenticing to older artists at the time. As the Paducah newspaper article suggested, Hubal had worked at Sosman & Landis for “several years” by 1912.
Hubal continued to live in Chicago until 1917, when he married In 1917, Hubal met a married Eloise L. Strenlund (1897 – 1984). The couple’s first address was 5030 Hutchinson St. This was the same address listed on his WWI Draft Registration card. Hubal’s draft registration card listed that he was as scenic artist. Although currently unemployed, Hubal listed that he was planning to work for the Joy & Cannon Scenic Co. in St. Paul, Minnesota. He also claimed exemption from the draft due to “kidney trouble.” On August 20, 1917, Hubal’s name and address were part of the draft list published in the “Chicago Examiner” (page 12).
It was likely familial ties that prompted the Hubals to move from Illinois to Minnesota. Eloise grew up in Minnesota, daughter to a Swedish immigrant. Her father, Anton Strenlund, emigrated in 1887 at the age of sixteen. He gradually made his way west, working as a carpenter and finally settling in Minnesota where he married Alise Oberg on August 21, 1897. The couple celebrated the birth of Eloise on November 12, 1897. Two more children followed: Arthur (1900) and Ernest William (1903). By the age of 17 yrs. old, Eloise moved to St. Paul where she began working as a clerk, residing s at 1010 Euclid Ave. She was listed in the 1915-1917 St. Paul Directories. Immediately after marrying Hubal, the couple set up house in Chicago where Hubal continued to work and travel as a scenic artist.
In Minnesota, Hubal worked at three scenic studios in Minnesota – Joy & Cannon Scenic Co. (St. Paul), Universal Scenic Studio (St. Paul), and the Twin City Scenic Co. (Minneapolis). I’ll start with the obscure and short-lived firm, Joy & Cannon Scenic Co. of St. Paul. This is the firm listed on Hubal’s WWI Draft registration card.
Joy & Cannon Scenic Co. stamp on backside of roll drop at Triune Lodge in St. Paul, Minnesota, c. 1916.Joy & Cannon Signature on backside of an ad drop, now at the Anoka County Historical Society.
Joy & Cannon was established by Boyd Phelps Joy and Gerald V. Cannon, scenic artists during 1916. Their shops were located in the Metropolitan Opera House in St. Paul. Although relatively short lived, the firm was still being advertised in the “Film Yearbook of 1922-1923.” Despite the firm appearing active, the two founders went their separate ways, with Cannon working as the first United States Marine Corps. camouflage artist and Joy founding Universal Scenic Studio. Joy’s firm was first founded in Sioux Falls, South Dakota, in 1919. However, by 1920, Joy moved his operation back to Minnesota by 1920, again appearing in city directories and was listed the president of Universal Scenic Studio, Inc. in the St. Paul City Directory. Joy later opened a branch in Milwaukee, Wisconsin. A catalog from the Milwaukee branch of the Universal Scenic Studio was found among the personal belongings of Victor J. Hubal, Sr.
Hubal also worked for Joy and Cannon’s competitor, the Twin City Scenic Co. In fact, three of Hubal’s designs are part of the Twin City Scenic Co. Collection at the University of Minnesota Libraries Performing Arts Archives. The collection contains almost 2,000 items produced by the Twin City Scenic Studio, including designs for backdrops, leg drops, cut drops, borders, tormentors, painted curtains, olios, picture sheets, sample interiors, model pieces, sales books, business records, and company scrapbooks.
Scene Design by Victor Hubal for the Twin City Scenic Co.Scene Design by Victor Hubal for the Twin City Scenic Co.
The best summarization of Hubal’s later contribution to American scenic art and theater history is his 1972 obituary. Victor J. Hubal Sr. passed away on Feb. 15, 1972, and was buried at Union Cemetery in Maplewood, Minnesota. On Feb. 20, 1972, the “St. Paul Dispatch” included a lengthy article about Hubal and reported, “His work graced some 50 productions of the St. Paul Civic Opera, as the organization was then known, from the initial one, ‘Samson And Delilah’ in 1933, to ‘The Merry Widow’ in 1963. He also did the decorations and designs for a number of the International Institute’s, “Festival of Nations” at the Auditorium and was responsible for the mounting of major productions at Andahazy Ballet Borealis.” Hubal’s numerous stage settings for Lorand Andahazy and Anna Adrianova included “Slavonic Scenes,” “Les Sylphides,” “Swan Lake,” “Spectre de la Rose,” “Aurora’s Wedding,” “The Miraculous Stag” and “Scheherazade.” A 1954 article from the “Star Tribune” provides additional detail about Hubal scenery for “Les Sylphides” –
“The setting, a woodland glade, by Victor Hubal, had a spacious, semi-transparent effect which enhanced the quality of the ballet.” The article also noted that the ballet company was composed of 40 dancers and
In regard to Hubal’s “Swan Lake” scenery, an entertaining tale was later published in the “St. Paul Dispatch.” Purportedly, Andahazy accidentally upset a pail of dye onto the canvas when Hubal was painting “Swan Lake.” Andahazy immediately apologized and Hubal responded, “Never mind.” The article reported, “with deft strokes he converted the dark blotch into a rocky formation and balanced the composition by converting some trees into more rocks on the other side.” The “Dispatch” article also described Hubal in detail – “A man of artistic sensitivity and great skill and accumulated knowledge of his craft, Hubal labored largely in obscurity, for he was shy and retiring by nature and had no talent for self-promotion. But the contributions to the community to which he made in his self-effacing way for so many years were great, and they can be remembered with respect and gratitude.”
Another article about the St. Paul Civic Opera’s production of “Rigoletto” mentions Hubal’s brief work for film –
“When the curtain rises Wednesday it will be on the work of a man who might have been prominent in his field in motion pictures as Wallace Beery and Charlie Chaplin are in theirs, had it not been for the fact that he found black and white too monotonous. He is Vic Hubal, scene designer for the opera association. When the motion pictures were in their infancy, Hubal, already an accomplished scene designer for some of the largest production and road shows in the country, wandered into the old Essanay Film company’s lot in Hollywood. There he went to work on designing backgrounds against which Charlie Chaplin, Ben Turpin and Beery were to cavort. But the backgrounds were all black and white, because those were the only colors to film well. There were relieving incidents once in a while, as he when he would be called down from his scaffold to take the part of a cop, or when he was called into the dressing room to make up Turpin for his monkey roles, but on the whole, black and white was too confining for a true scenic artist.” The article also noted that Hubal trained with Fred Scott, Ansel Cook and Fred Lewis, all who worked at Sosman & Landis when Hubal was associated with the firm.
Hubal’s obituary in the “St. Paul Dispatch” mentioned Hubal’s work for the Josef Meier Passion Play, both the touring productions and the permanent one at Spearfish, S.D.” Of the Black Hills Passion Play, a 1944 article in the “Queen City Mail” noted “Victor Hubal of St. Paul, scenic artist, was in Spearfish last week redecorating the play scenes for the winter performances” (Spearfish, SD, 21 Sept. 1944). Over the years, Hubal was repeatedly connected with the production as the sets were repaired and new elements were added.
Passion play postcard that shows details of Victor Hubal’s scenic art for the Black Hills Passion Play.
Meier brought his Passion Play to the United States in 1932. Born in Lünen, Germany, he was the seventh generation of his family to portray Jesus in the biblical drama. Meier translated the production from German to English and brought a small company to the United States, premiering the show in New York and then taking the production on tour. By 1939, Meier found a permanent home for his production in Spearfish, South Dakota, building a 6000-seat amphitheater. Even after settling in Spearfish, later toured the United States and Canada until 1964. The production was performed in more than 650 cities over the years, becoming an annual event for many cities. Meier remained part of the production until 1991, when he retired after performing in 9000 performances. Meier passed away eight years later at the age of ninety-four. The Black Hills Passion Play outlived its founder, lasting until 2008 when the summer performances finally ended. For more information about the show, there are amazing photographs available to peruse online, part of the Fassbender Collection. Here is the link: https://www.historicblackhillsstudios.org/keyword/Black%20Hills%20Passion%20Play/
Interestingly, no one in the Spearfish Community seems to recall what happened to any of the Passion Play scenery…
My own life intersects with Hubal’s on many fronts. He first came onto my radar as an undergraduate at the University of Minnesota. Prof. Lance Brockman recommended me to repair some of Hubal’s work at a local ethnic hall. In 1917, Hubal painted stock scenery for the Česko-Slovanský Podporující Spolek (C.S.P.S.) Hall in Saint Paul, Minnesota. His work includes roll drops, wings, flats and profile pieces. The roll drop curtain depicting Praha (Prague), and stage settings include street scenes, landscapes, woodlands, rustic interiors and fancy interiors. The interior box sets had interchangeable flats, being double painted to provide endless variety for a number of shows.
Roll drop by Victor Hubal for the CSPS Hall in St. Paul, Minnesota.Scenic art detail by Victor Hubal at the CSPS Hall in St. Paul, Minnesota.Roll drop and cottage by Victor Hubal for the CSPS Hall in St. Paul, Minnesota.
Theatre was an integral part of the Minnesota Czech community. A third floor was added to the 1887 building in 1917, featuring a stage and auditorium/gymnasium.
The CSPS Hall with gymnasium and stage. 2016.
The auditorium/gymnasium is still primarily used for gymnastics and general physical fitness; this is part of the Sokol mission “a sound mind in a healthy body.” On the stage, Czech plays continued to be performed, preserving the language and heritage of this immigrant community. For more information on Sokol origins, please visit www.american-sokol.org/history/.”
Hubal and his family were members when he painted the beautiful roll drops for the Hall. Over the decades, many of the drops fell into a state of disrepair from constant use. During the 1990s, I restored Hubel’s roll drops, first encountering Hubel’s grandson, Victor J. Hubel, Jr. (1923-2012). Over the years I have periodically returned to repair any new damage.
Repairing damage to the bottom fabric and roller in 2016.
Hubal’s scenery is well loved and well used to this day. The drops always make an appearance at social activities, concerts and plays. However, as with many stewards of historic backdrop collections, it is difficult many members to understand the historical significance of these painted scenes. In regard to Hubal’s legacy, gymnastic equipment often brushes the delicate scenery, and this constant contact takes a toll on the longevity of each piece. The edges of roll drops fray as performers brush by during set-up and teardown of a band. Cups of beer are tipped over during musical performances, damaging the fabric and wood on the bottom roller. This is a similar scenario across the country in Czech halls. Often the well-loved scenes are treated as standard stage scenery and not large-scale artworks created by nationally recognized artists. When historic backdrops are regarded as “old backings”, their artistic value and cultural significance is diminished; their repair may seem optional. In the end, these historic artifacts are roughly handled and damage continues to occur over time. In 2016, I repaired fabric damage and re-attached rollers. When I examined Hubal’s scenery a few years ago, I noticed that much of the collection was was rapidly deteriorating from excessive contact. In fact, many of the drops were in far worse shape than when I first examined them in the 1990s.
There are things to consider when pondering the value, cultural significance, and use of historic scenery. First of all, you need to think about the creator and artistic provenance.
An entire scenery collection produced by a scenic artist is remarkable in its own right. Most scenery collections were painted by many scenic artists, with multiple hands creating the various scenes. When a piece of scenery, or entire collection, is created by a single individual, it adds to the rarity and provenance of the artworks. When that person is well-known, having enjoyed a long and successful career, especially one that is integrally linked to a variety of nationally-recognized productions, there is an added culturally significance.
Hubal was very important in the scope of American theatre history, as well as several regional histories, including Minnesota and South Dakota. His scenery at the SOKOL Hall in St. Paul may be some of the last examples of his scenic art.
Although scenery can last for decades, even centuries, the eventual deterioration is based on both environment and continued use; both are currently working against Hubal’s painted legacy in St. Paul.
Make a point of visiting the hall now to see Hubal’s scenic art. It will not survive the test of time.
