Copyright © 2023 by Wendy Waszut-Barrett
Peter Joseph Donigan (1871-1949) was not only the brother of Lawrence Edward “Ed” Donigan (1865-1944), but also the uncle of George Pat Wood (1891-1980). All three worked as scenic artists at Sosman & Landis.
1927 advertisement for Peter J. Donigan (1871-1949).
Unlike his older brother, Peter retained the surname of Donigan. His older brother changed his surname to Donohue by 1890 yet continued to work as a scenic artist under the name of L. E. Donigan. This was noted in Lawrence E. Donohue’s 1944 obituary.
On March 2, 1944, the Oak Park Leave reported,
“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. Donohue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mrs., 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).
For more information about their family history, see past post: https://drypigment.net/2023/04/29/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-99-ed-donnigan-revised-biography-for-lawrence-e-donohue/
Peter “Pete” J. Donigan was born on Jan 28, 1871, and purportedly spent his early years in Alton, Ill. For geographical context, Alton is located on the Mississippi Rover, upstream of St. Louis, Missouri. By 1880, Peter and his three siblings were living with their mother in Chicago at 1027 Wentworth Ave, using the surname of Donegan. Their household included his mother Mary (32 yrs.), older brother Lawrence (15 yrs.), and twin sisters Maggie and Della (14 yrs.). Peter was the youngest. His older brother was already working, his occupation listed as “works in painting house,” likely a scenic studio that mass-produced painted scenes.
By the time Peter turned 15 yrs. old, his brother was working at Sosman & Landis scenic studio. That year, his sister Maggie also married. On Jan. 7, 1885, Maggie married William Smith O’Brien (1852-1929) in Cook County, Illinois. William was a painter, a trade that he would continue until his passing in 1929. Much would change over the next few years for Donigan.
By 1890, two of his siblings had moved to St. Louis. In addition to moving south, both Della and Lawrence changed their surnames to Donohue. In the 1890 and 1891 Lawrence was listed in the St. Louis Directories as: “Donohue, Lawrence E., artist, 2204 Eugenia.” A few years later, Peter Donigan was also listed in the St. Louis Directory. In 1893, Peter Donigan was listed as a painter, living at 2204 Eugenia. He soon returned to Chicago but continued to visit his siblings in St. Louis. In 1895, the St. Louis Globe-Democrat reported that “P. J. Donigan, Chicago artist” was a visitor at the St. Louis Sketch Club who “also presented a sketch” (page 9).
It remains unclear as to whether Donigan met his first business partner, Fred Gibson, in Chicago or St. Louis. In 1897, Frederick J. Gibson was listed as a scenic artist In Chicago, living at 193 S. Robey. In 1899, Gibson was associated with the Columbia Theatre Comedy Company in St. Louis, Missouri. On Feb. 17, 1899, The Jewish Voice reported, “Mr. Richard Baker, will present each week a 30-minute comedy, with special scenic and stage environment provided by the noted scenic artist Mr. Frederick Gibson, whose work is so well known here” (page 7). On Feb 19, 1899, the St. Louis Post-Dispatch reported, “All the pieces will be staged under the personal supervision of Mr. Richard Baker and will be provided with special scenery by Mr. Frederick Gibson, the well-known scenic artist” (page 29). By 1900, Gibson had partnered with Donigan to form Donigan & Gibson. Both Donigan and Gibson were living at the home of Mary Gibson, Frederick’s mother.
The 1900 US Federal Census listed the following individuals living at Mary Gibson’s home, 10 Jackson Blvd., Chicago:
Mary Gibson (b. June 1843)
Frederick Gibson (b. April 1871)
Peter Donigan (b. Jan 1871)
Mary Gibson (b. Oct.1876)
Both Peter and Frederick were listed as scenic artists. Interestingly, Peter did not list a birthplace for either his mother or father, leaving that section blank. Please see my past post from April 29, 2023, about Lawrence “Ed” Donnigan for a possible reason.
1900 signaled his big break for Donigan, both professionally and personally. That year he partnered not only partnered with Gibson, but also met his future wife, Louise C. Lucas. In 1900, Donigan and Gibson briefly established the scenic studio of Donnigan & Gibson. An early project was delivering scenery for the Shaw Theatre in Hutchinson, Kansas. The Shaw Theater was located on the west side of Main street on the south side of Avenue B, opposite the new county courthouse. The stage was designed by Gus Wood of Chicago. The proscenium measured 26’h x 36’w, with the gridiron 60’ above the stage floor. The stage floor was measured 60×40 feet in size. The drop scenery was operated by 60 line sets, with a 30’h x 45w paint frame and paint bridge, spanning from the SR gallery to SAL gallery, along the back wall.
Their work was described on Oct. 26, 1900, in The Hutchinson News (page 5). An article about the new Shaw Theater announced, “Work of Scenic Artists.” The article reported, “The scenery was painted by the firm of Donigan and Gibson, of Chicago. The work here was done by Mr. P. J. Donigan and Mr. Charles Squire. Up to the time of opening the artists have completed twelve stage settings. There are six elegant interior settings of thirteen pieces each, including a dark mahogany interior, a light interior in lavender and gold, a kitchen, a plain interior, a prison, and a palace, in yellow and red, with cut drop arches and wings to match. Among the other scenery may be found a horizon, wood wings, beautiful landscapes, set cottage, house, set rocks for mountain pass scene and everything to meet almost any requirement, although there is still more scenery to be added. Still the most beautiful of the work done by the artists are the two drop curtains which must be seen to be appreciated. The front curtain has a beautiful English landscape center surrounded by light yellow and pink shades with green draperies. The second curtain has dark red draperies with business cards in rococo style, and an American landscape in the center. The beautiful grand drapery border is done in red and tallow shades, and the working border to control the stage height is light green satin. The proscenium wings and marble columns harmonize with the grand drapery border.”
That year, he delivered scenery at the Shaw Theatre in Hutchinson, Kansas. On Sept. 12, 1900, The Hutchinson News announced, “New Men Arrive. Scenic Artists and Electrician from Chicago Join the New Theater Force” (page 5). The article continued, There was an unusual stir at the Shaw Theatre this morning and from all appearances the workman will be successful in completing it before the time of the opening, October 15. The scenic artists have arrived and will begin work tomorrow. Mr. P. J. Donigan will have charge of the work and will be assisted by Mr. Charles Squires. Mrs. Frank Gannon, the expert electrician who will oversee the lighting of the house, arrived. He has been connected with Chicago Theatres for the past seventeen years, and is not only an electrician but is a specialist in the line of lighting theaters. It will perhaps take a little over two weeks’ time to complete his work here. Both Mr. Gannon and Mr. Donigan expressed surprise at the stage of the Shaw Theatre. They say that it is superior to many of their Chicago houses, and that there is no company on the road that cannot find every necessary convenience for putting on their show. The carpenters are now busy putting down the floors and a good force of plasterers will be run this week. The roof is almost completed as is also the stage. Two arc lights are being put in preparatory to running night force. The decorators will come from Chicago in about a week.”
Main Street in Hutchinson, c. 1906.
In Hutchinson, Donigan met his future wife, Louise Coe Lucas, the local doctor’s daughter. On Octo. 30, 1900, The Hutchinson News announced, “A box party will attend the Shaw Theatre this evening composed of the following: Mr. and Mrs. F. Prigg, Mrs. and Mrs. Cone, Dr. S. M. Colladay, Mrs. and Mrs. Edward Colladay, Mr. and Mrs. B. Nusbaum, Mr. and Mrs. Bascom, Mr. and Mrs. Sam Hirst, Mrs. J. U. Brown and Mr. C. H. Rogers. Another box party will be Mr. P. J. Donigan, Mr. Charles Squires, Misses Joe Bennett and Louise Lucas. Mrs. Gilpin, Mr. and Mrs. I. R. Shaw, W. J. Shaw and Mr. Gold Wheeler” (page 5).
In 1901, Peter married Louise C. Lucas, the daughter of William Lucas and Sarah Coe. Born in Cincinnati, Ohio, Louise was quite a bit younger than Donigan when they met. Lucas was from Hutchinson, Kansas.
On Dec. 28, 1901, The Hutchinson News announced, “To be Married Tuesday. Miss Louise Lucas of Manchester and Mr. P. J. Donigan of Chicago” (page 1). The article reported, “Miss Louise Lucas, formerly of Hutchinson, now of Manchester, will be married on next Tuesday at 3 o’clock to Mr. P. J. Donigan of Chicago. The wedding will occur at the home of Miss Lucas’ parents, Dr. and Mrs. Lucas. Miss Jo Bennett of this city and Mrs. Charles Squires o. Mr. Donigan and Mr. Squires will be remembered here as the scenic artists who painted the scenery for the Shaw Theatre. They arrived here from Chicago last night and Mr. Donigan went to Manchester this morning.”
Their wedding was later featured in The Hutchinson News on Jan. 4, 1902 (page 2):
“Mr. P. J. Donigan of Chicago and Miss Louise Lucas were married Tuesday, Dec. 31, at high noon at the home of the bride’s parents, Mr. and Mrs. Wm. Lucas, of Manchester, Oklahoma Territory. The home was decorated with pink and white carnations, white roses and smilax. The bride’s gown was white organdy, and she carried a shower bouquet of tea roses. Immediately following the ceremony, luncheon was served. Many elegant presents were received, all the gifts form admiring friends. Mrs. Donigan lived in Hutchinson until quite recently and numbers here friends here by the score. Mr. Donigan is also well known here and is a highly esteemed young man. THE NEWS extends congratulations to the young couple, wishing them much success in their new home in Chicago” (page 2).
By 1902, Donigan and Gibson had ended, with each periodically working at the Chicago Opera House. That year Gibson worked alongside Walter Burridge, delivering scenery for the premiere performance of “The Wizard of Oz.” Gibson did not remain in Chicago for many more years. He soon began traveling as a scenic artist for touring stock companies, briefly settling in Boston from 1906 to 1908. By 1915, Gibson had settled in Minneapolis, Minnesota, working as a scenic at the Twin City Scenic Co. until 1918. In 1919 he was listed as the scenic artist at the Lyric Theatre, then at the Schubert Theatre from 1920 to 1921. Sadly, he passed away in 1923, leaving a young widow named Elizabeth Gibson.
As far as Donigan’s career, he worked throughout the region during the early years of his marriage. In 1903, the Peter and Louise celebrated the birth of their first child, Robert L. Donigan. That spring, Donigan became associated with Buffalo’s Academy of Music. On May 9, 1903, The Buffalo Enquirer reported “Peter J. Donigan of Chicago has been engaged as scenic artist” (page 3). Donigan was painting scenery for the Academy’s Stock Theatre Season. On May 10, 1903, The Buffalo Times also included an article on the Academy Stock Co. reporting, “Joseph L. Brandt, the actor-playwright, will act as stage director, and Mr. Peter Donnigan, one of the most competent scenic artists of the West, who has painted several of the big productions of the season, has been engaged” (page 33).
During her husband’s frequent absences for work, Louise also began to travel. On Feb. 19, 1904, The Daily Independent of Hutchinson, Kansas, announced, “Mrs. P. J. Donigan, formerly Miss Louise Lucas, of this city, spent Thursday with her friends in this city, en route to Manchester, Okla. To visit her parents, Dr. and Mrs. Lucas” (page 8). On April 2, 1904, The Independent reported, “Mrs. P. J. Donegan and baby are here in the city visiting friends. Mrs. Donegan has been visiting her parents, Dr. and Mrs. Lucas of Manchester, and is on her way to her home in Chicago” (page 5).
In 1905, Louise gave birth to another son, William R. Donigan. She took is in stride and continued to visit both family and friends in Kansas and Oklahoma. On Sept. 14, 1906, the Grant County Journal of Medford, Oklahoma, announced, “Mrs. P. J. Donigan of Chicago, with her two little boys, Robert and William, is visiting her parents, Dr. and Mrs. W. M. Lucas” (page 8). Over the course of the next few years, visits became more frequent, as Louise’s mother became ill and passed away.
On May 2. 1907, The Hutchinson News of Kansas announced, Dr. W. M. Lucas of Manchester, Okla., and Mrs. P. J. Donigan of Chicago who have been the guests of Mr. and Mrs. Hall left this morning for Manchester” (page 6). They were in town to bury Louise’s mother, Sarah Lucas. Her obituary reported,
“Sarah J. Lucas, nee Sarah J. Coe, was born in Monroe County, Ohio, on October 10, 1846. She removed to Peoria county, Illinois, with her parents in 1855. About the same time the parents of Dr. W. M. Lucas removed from Pennsylvania to the same county. On Oct. 10, 1865, these two were married in Elmwood, Illinois, and resided from 1870 to 1879 at Peoria, Ill. After a residence extending from 1879 to 188 at Felicity, Ohio, Hutchinson was chosen as there home. It was in Hutchinson that Mrs. Lucas made so many friends and labored in song and service for the good of the Presbyterian church. It was just as the congregation was removing to the present stone church and under the beginning of Rev. A. Forbes Irwin, that Mrs. Lucas sang in the church choir as contralto and Miss Norris, as sopranos. She loved the labor of song for the churches uplift. After her daughter’s graduation, in 1901, Mrs. Lucas removed to Manchester, Okla. To join the doctor, who located there at that point for business. The tie of friends and school privileges and good environment for her child having been loosened by reason of her child’s graduation; Mrs. Lucas began her home making in the new land of Oklahoma where she lived til death summoned her on April 29th. Of her household, her daughter, Mrs. P. J. Donogan, of Chicago, Ill., but known to all Hutchinson people as Louise Lucas survive her. Another of the many good and amiable person who have worked and loved for the welfare of the old stone church on the corner, has been called away. With the passing of Mrs. Lucas, comes revered which bring the forms of old pastors and friends with whom she mingled, now long since called home and who welcomed her” (page 6).
Two years after her mother’s passing, the Donigan’s celebrated the birth of another child – Margaret L. Donigan. On Dec. 23, 1910, Louise returned to her hometown of Hutchinson, Kansas, with infant daughter. Of their visit, The Hutchinson News reported, “Mrs. Louise Lucas Donegan and daughter, Margaret, leave today for their home in Chicago after several weeks visit with Mr. and Mrs. Charles Hall on Avenue A. East” (page 5).
The 1910 US Federal Census listing Peter and Louise living with their three children at 1004 3rd Ave. By now, Peter was 38 yrs. old, and Louise was 27 yrs. old. Their children ranged in age from 1 yrs. old to 7 yrs. old. Peter’s occupation was still listed as “scenic artist,” but now in the “studio” industry.
It is around this time that Donigan’s nephew, George Pat Woods, also enters the scene painting profession. Woods and Lawrence E. Donigan deliver scenery for Des Moines’ Empress Theatre in 1913. On July 8, 1913, the Des Moines Tribune reported: “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, George Wood, and Arthur Overholt rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
In other words, Uncle Lawrence E. Donigan (b. 1865), was assisted by 22-yrs.-old nephew George Pat Wood and 30-yrs.-old Arthur Oberbeck. Oberbeck was part of the Sosman & Landis staff from approximately 1902-1920.
Peter Donigan found his place at Chicago’s Grand Opera House with the Chicago Opera Association. On Nov. 21, 1915, the Chicago Tribune, “Pete’s Leaves Fell Him” (Page 10). “Autumnal Foliage at Grand Opera So Realistic They Follow Natural Laws. Pete Donegan, scenic artist of the Chicago Grand Opera company, painted some foliage for the production of Monna Vanna. The foliage adorned the top of a tall column in Guido Colonna’s garden. In November leaves fall from the trees. The painted leaves were true to nature, for they fell yesterday afternoon, just before the curtain rose on the matinee performance of Monna Vanna. Instead of drifting gently to the ground they struck heavily their creator on the head, cutting a deep gash. Donegan was carried from the stage unconscious. His injury is not serious.”
On Sept. 2, 1917, the “Des Moines Register” announced the coming season of the Chicago Opera association, Oct. 17 and18th at the Coliseum under the direction of the new artistic director Emile Merles-Forest. The article reported, “M. Merles-Forest is one of the foremost French masters of stagecraft whose greatest achievement have been made in his six seasons at the Theatre Monnaie in Brussels and four seasons at the Grand Opera in Paris. The only interruption in his career was his ten-month military service as a telegraph operator at Lyon. He will come to America shortly to assume charge of the making of new productions at the Chicago Auditorium for the coming seasons in Chicago, New York and Boston…M. Merles-Forest will have the same capable technical staff which was maintained at the auditorium last season, including Joseph Engel, stage manager, and Peter J. Donigan, scenic artist” (page 19).
On Oct 14, 1916, Musical America published an article entitled “Pictorial Side of Grand Opera in the Making” (page 6). Peter J. Donigan and his assistant were pictured painting a setting for ‘Andrea Chenier’ on the auditorium stage.
Peter Donigan painting in 1916 (left picture). Scenery stored at the Chicago Opera Company’s warehouse on the West Side in 1916 (right).
Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.
Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.
The article reported:
“Grand Opera to most persons means simply the singing and acting of high-salaried performers to the accompaniment of an orchestra, pretty gowns and beautiful women, evening clothes and notices in the newspapers where the critic tears to pieces the singing the night before.
The public knows nothing of the tremendous amount of work which goes on month in and month out, summer and winter, when song bords are on their vacation and the opera house is dark, but this work is as necessary to successful opera as the orchestra. The accompanying pictures show something of the technical producing end of the Chicago Opera Company. While Cleofonte Campanini has been in Europe engaging singers and orchestral conductors, and army of men and women has been at work in Chicago under the direction of Joseph C. Engel, stage director, to make a triumph of the coming season possible. Since the first of March the three large warehouses and construction plants of the Chicago Opera Company, on Jefferson, Green and Harrison Streets, have been working full time on scenery, costumes, properties, and electrical effects. Complete scenery had to be made for seven new productions and eight revivals, and scenery for the standard operas had to be freshened and much of it replaced with new material. Two large auto trucks, owned by the Chicago Opera Company, have been going back and forth between warehouses and the auditorium all summer. Scenic rehearsals have been held almost daily under Mr. Engel’s direction, and every scene in every opera given this season has been set upon the stage, perfected, and taken back to the warehouse again, so that there will be no hitch when the operas are produced. – Farnsworth Wright.”
There was an interesting article published in The Musical Leader in 1917 (Vol, 34, page 425) entitled, “Transporting the Chicago Opera Company” (page 425. The article reported, “The backcloths or full-sized scene used in the auditorium are 68 feet wide and 40 feet high – this means, 2,720 square feet of painted and fire-proofed surface. This company carries forty-seven hanging pieces for scenic service in two operas, ‘Faust’ and ‘Lucia di Lammermoor,’ the full equipment as used in the home house of the Chicago Opera. In order to swing the scenes, the company carried its own rope, as no houses where they visit have lines enough to swing the productions. This detail necessitates twenty thousand feet of rope, all told twenty coils. I require the service of seventy-five men back of the scenes to handle these productions.
In order to produce all these sceneries and effects, it requires a big plant in Chicago, that is kept busy the year round in refurbishing old material and making new outfit for the coming season. The scene dock of the Auditorium would be considered large enough to house the equipment of most theatres, it being 150 feet long, 30 feet wide and 60 feet high, covering the space of the alley outside the stage, but this is only sufficient to store for the needs of a few performances. On the West Side of the city at its large warehouse filled with scenery and properties, valued a ta. Million and a half dollars, there are larger carpenter shops, scene rooms with painting stages and a costume department, where twenty-five seamstresses are employed. Twenty-five carpenters are always on the payroll and the stage carpenter, H. W. Beatty. Ten men are continually employed in building property under the skilled direction of Jack O’Malley, and there are twelve men in the scenic department under the direction of Peter J. Donigan, who work all year round.
On Dec. 12, 1917, The Billboard reported, “Emile Merle-Forest, who was stage director for the Chicago Opera Co, last year, is in the same position this year. His mise-en-scenes are famous for their excellency. Associated with him are Harry W. Beatty, as technical director and Peter J. Donigan as scenic artist” (page 23). Donigan remained with the Opera Association for quite some time. His name was even featured in various advertisements, listed alongside Norman Bel-Geddes and Robert Edmund Jones.
On Sept. 3, 1919, Chicago Opera Association advertisements in the Chicago Tribune announced, “The productions will be designed and staged by exceptional Russian, Dutch and American artists, including Boris Anisfeld, Herman Rosse, Peter J. Donigan, Norma-Bel Geddes, and Robert Edmund Jones” (page 6).
Peter Donigan listed alongside Anisfeld, Rosse, Bel-Geddes and Jones in 1919.
Here are a few more articles mentioning Donigan that season:
On Aug. 23, 1919, the “Chicago Tribune” reported, “Our Mary Garden, it is announced, proposed to sing Aphrodite as her first opera this season, with Mr. Campanini’s artists. The opera, which is listed as of the “tragic grand” type is by the late Camille Erlanger, and is founded on a romance of the same name by Pierre Louys. The scene is in Alexandria in the reign of Berenice, about fifty years before Christ. Peter J. Donnigan is painting the scenes for it.” (page 13).
The 1920 US Federal census listed the Donigan family living at 1004 S. 3rd in Proviso, Cook, IL. The household included:
Peter (48 yrs.)
Louise (36 yrs.)
Robert L. Donigan (17 yrs.)
Wm. R. Donigan (15 yrs.)
Margaret (11 yrs.)
In 1920 Donigan was associated with the world premiere of Reginald De Koven’s ‘Rip Van Winkle” at Chicago. On Jan. 8, 1920, an article published in Musical Courier reported, “The scenery designed and executed by Peter J. Donigan, scenic artis of the Chicago Opera Association, was beautiful and tasteful…” (page 40). His scenery was included alongside the article.
Scenery designed and executed by Peter J. Donigan, chief scenic artist of the Chicago Opera Association. Here is the link to the images and Musical Courier article: https://www.google.com/books/edition/Musical_Courier_and_Review_of_Recorded_M/y-w6AQAAMAAJ?hl=en&gbpv=1&dq=%22Peter+J.+Donigan%22&pg=RA2-PA40&printsec=frontcover
By the mid 1920s, Donigan drifted away from the Chicago Grand Opera Association and began to look for other work in the region.
On Dec. 12, 1924, he placed the following advertisement in The Billboard:
“Peter J. Donigan
Scenic Artist
At Liberty
Seven years Chief of Scenic Dept. Chicago Grand Opera Assoc., also Chief artist as Ravinia Park Opera Co. Thoroughly experienced in Stock and Presentation. Office – Room 1101 Otis Building., 10 South La Salle St., Chicago, Illinois.
Peter J. Donigan’s 1927 advertisement in THE BILLBOARD.
In 1927, Donigan was mentioned by his nephew, scenic artist, George Pat Woods, and credited with giving the young man a start in scene painting. Woods was the son of his sister, Della Donahue Woods. Like her older brother, Della’s maiden name shifted from Donigan to Donohue. Her son, George Pat, was born in Chicago on April 10, 1891, one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (Della B. Donigan). In 1927 interview Woods credited his uncle Pete Donigan with helping him secure a foothold in the scenic art world. However, Wood also worked with his uncle Lawrence, likely when they were both working for Sosman & Landis.
Peter J. Donigan’s nephew. George Pat Wood.
Here is the article about Wood that mentions Donigan:
On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush” (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.”
By 1928, Donigan became associated with Detroit’s Civic Opera Co. His work for the Detroit Opera Co. was repeatedly mentioned in Detroit Free Press articles from 1929-1934. Initially, he was credited as “Peter J. Donigan, of Ravinia Park, Chicago, one of the nationally known scenic artists has started work on the scenery (Detroit Free Press 27 Oct 1929, p 62).
In 1929, Donigan was assisted by O. S. Davis in Detroit, They were painting at the studios of the Detroit Opera Co., located at 2154 Grand River Ave. Despite his work in Detroit, Donigan continued to work at Ravinia Park until 1932.
On Oct. 29, 1930, the “Detroit Free Press” reported. “At the studios of the Detroit Opera society in the old Fox-Washington theater, Peter J. Donigan, chief scenic artist of the Ravinia Park Opera, was introduced and his work for the last two months exhibited” (page 7). In article entitled “Opera Backers See 1931 Equipment.”
In 1931, Donigan made the news in Detroit several times. The Detroit Civic Opera Season was scheduled to opened April 21 that year. On Jan 25, 1931, the Detroit Free Press reported, “Even today, three months in advance of the season, the operas are practically ready for production. The scenery, painted by Peter J. Donigan and his corps of assistants from Ravinia Park was finished in November” (page 47). On April 29, 1931, the Detroit Free Press reviewed their production of “Tosca,” reporting, “The scenery painted for this opera by Peter J. Donigan had much to commend it artistically, especially in the church scene. In which lovely effects were secured in the stained-glass windows and there was a feeling of spaciousness, remarkable when the size of the stage in Orchestra Hall is considered” (page 6).
On May 1, 1931, the Detroit Free Press reviewed the production of “Madame Butterfly,” reporting “The opera has been mounted by Peter J. Donigan with a gorgeous wealth of color” (page 6).
On April 13, 1932, the Detroit Free Press applauded Detroit’s Civic Opera Company’s production “La Traviata” (page 5), reporting, “The startling effect of the scenes, painted by Peter J. Donigan, and the color of the costumes all helped to make the opera delightful.”
On April 20, 1932, the Detroit Free Press mentioned Donigans’ work on the Gounod’s Romeoand Juliet (page 10). The article reported, “Again Peter J. Donigan accomplished wonders with the scenery. Juliet’s garden and the public square were real, so well done, in fact the audience could not resist showing its appreciation. Mr. Donigan’s work in the interest of the Civic Opera has been of outstanding value since the beginning four years back. He is to be thanked a great deal.” His work for “Aida” that season was also very well received. On April 25, 1932, the Detroit Free Press announced, “Peter J. Doniogan’s scenery drew applause with each new curtain. The Temple scene, the banks of the Nile and the opening act – the King’s palace at Memphis – were striking” (page 9)
In 1933, Peter J. Donigan was credited with scenic painting for “It Pays to Sin” at the Morosco Theatre, 217 W 45th St, NYC. The show opened Nov. 3, 1933. A play in four scenes, the settings were conceived by Clive A. Rickabaugh and included the Office of Dr. David Janossy in Vienna; Greta’s Sitting Room; Moulin Rouge; Bedroom in Zoltan Keleti’s Apartment. This is Donogan’s only listing in the Internet Broadway Database.
Donigan was mentioned in an article entitled “Birmingham Music Lovers Attend Detroit Civic Opera,” published in Birmingham Eccentric of Birmingham, Michigan, on Thursday April 23, 1931. The article announced, “The scenery for all the operas was painted by Peter J. Donigan, of the Ravinia Opera.” The Detroit Civic Opera Company performed in Orchestra Hall, with productions including “Carmen, “La Bohème,” “Hansel and Gretel,” “Tosca,” and “Madam Butterfly.”
On Nov. 18, 1934, the “Detroit Free Press” advertised a production of Tristan and Isolde produced jointly by the Detroit Symphony Society and the Detroit Civic Opera (page 44). The article reported, “The new stage settings for the three acts of the opera [Tristan and Isolde], completed by Peter J. Donigan, Chicago scenic artist, have been moved to the Masonic Auditorium for the final rehearsals, which will begin Monday, Nov. 26, with the arrival of the principal stars” page 44). The production produced jointly by the Detroit Symphony Society and the Detroit Civic Opera. On Nov. 25, 1934, the Detroit Free Press reported, “Mr. Wronski also is production director and had staged the opera with new and exceptionally beautiful sets painted by Peter J. Donigan of Chicago” (page 44).
That same year, Donigan and his son were mentioned in the Chicago Tribune. On Oct. 28, 1934, the newspaper reported, “By coincidence the name of Peter J. Donigan, 548 Michigan avenue, Evanston, father of the prosecutor, Assistant State’s Attorney Robert J. Donigan, was drawn for the jury last week. He was excused without examination when Prosecutor Donigan told the court of the relationship” (page 11).
The 1940 US Fed Census listed that Peter was divorced and living at 1217 Albion Ave Chicago; he was living at the Albion Shore Hotel. His occupation was listed as “artist” in the “stage scenery” industry. They may have separated but were not officially divorced. When Louis L. Donigan passed away in 1946, her obituary noted that she was the “beloved wife of Peter J. Donigan.”
In 1941, Donigan visited his son in El Paso. On March 10, 1941, the El Paso Herald-Post reported, “WEDNESDAY- Capt. And Mrs. R. L. Donigan find much of interest in El Paso. So does the captain’s father, Peter J. Donigan, artist who is visiting here” (page 6).
Louise’s obituary was published in the Chicago Tribune on March 30, 1946, (page 12). It announced:
“DONIGAN- Louis L. Donigan, 860 Hinman avenue, Evanston, beloved wife of Peter J., mother of Robert L. and William R. At chapel, 1460 Sherman avenue, Evanston, after Saturday evening. Services Monday 1 p.m. Interment private. Please omit flowers.” A second notice announced:
“Mrs. Louise L. Donigan.
Services for Mrs. Louise L. Donigan, 63, mother of Assistant State’s Attorney, Robert L. Donogan, and prominent in Evanston club and Civic groups for many years, will be held at 1 p.m. Monday in the chapel at 1460 Sherman av., Evanston. Mrs. Donigan, who resided at 860 Hinsman av., died yesterday in Herotin hospital. Also surviving are husband Peter J. Donigan and another son, Maj. William R. Donigan.”
On June 30, 1943, Peter applied for social security, listing his name as Peter Joseph Donigan and his birthday as 28 Jan 1871 in Alton, Ill.He was 72 years old at the time of his application. This was less than six years before his passing.
On May 17, 1949, the “Chicago Tribune” published Donigan’s obituary:
Peter Donigan
The funeral of Peter J. Donigan, 79, retired dean of scenic stage designers and artist, who died Sunday in a Wilmette nursing home, will be held at 10 a.m. Wednesday in St. Francis Xavier church in Wilmette. Burial will be in All Saints cemetery. Mr. Donigan, a native of Alton, Madison county, created the original stage background for the “Wizard of Oz” in 1903. He also designed stage scenery for the Chicago Opera and Ravinia park. At one time he was business agent of local 350, United Scenic artist union. He leaves two sons, William R. and Robert L. Donigan, the latter a former assistant state’s attorney and now counsel for the Northwestern university traffic institute” (page 38).
Newspapers across the country carried news of Donigan’s death. On May 17, 1949, “The Idaho Statesman” reported, “Stage Artist Dies, Chicago (INS) – Peter J. Donigan, dean of American stage scenic artists, died Monday in suburban Wilmette at the age of 79” (page 1).
