Drypigment.net

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

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

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

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

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

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

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

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued..

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

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

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

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

To be continued…

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

Here is the article in its entirety:

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

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

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

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

‘real class’ then Mohammed was a bum showman.

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

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

And that’s that.

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

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

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

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

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

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

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

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

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

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

To be continued…

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

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

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

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

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

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

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

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

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

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

Thank you, Universal Scenic Studio, Inc.

Boyd P. Joy

President”

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

To be concluded…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 1929 lyrics:

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

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

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

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Victor J. Hubal (1888-1872) was a scenic artists and member of United Scenic Artists Local 350. He worked as a Chicago-based scenic artist during the early twentieth century before moving to Minnesota. In 1912, he was working at Sosman & Landis where he likely received most of his scenic art training.

Hubal worked for at least three Minnesota-based scenic studios during his career in the “Land of 10,000 Lakes” – Twin City Scenic Co. (Minneapolis), Joy & Cannon Scenic Co. (St. Paul) and Universal Scenic Studio (St. Paul). In terms of the Twin City Scenic Co., many of the stage designs are now part of the Performing Arts Collection at the University of Minnesota Libraries, including on identified as Hubal’s. Lance Brockman curated the 1987 University Art Museum exhibit “Popular Entertainment 1895-1925: The Twin City Scenic Collection.” It is a wonderful resource with essays by several people that look at multiple aspects of popular entertainment and the painted aesthetic. The catalogue is still available through Amazon.com and other used bookstore cites. I strongly encourage anyone interested in theatre history or scenic art to add this book to your collection. Here is link to a few used copies on Amazon: https://www.amazon.com/gp/offer-listing/0938713019/ref=dp_olp_used?ie=UTF8&condition=used

The other two Minnesota-based studios that Hubal worked for are less known.  I’ll start with the obscure and short-lived firm, Joy & Cannon Scenic Co. of St. Paul. I have encountered this particular studio a few times over the past five years and the history of each studio founder is quite fascinating.

While researching Hubal, I discovered his WWI draft registration.  He listed his occupation as a “scenic artist” and in regard to his employment status the draft card noted “not employed at present.” However, there was one sentence scribbled below this entry that caught my eye – “Joy & Cannon Scenic Co. in St. Paul.”

Here is the tale of why that studio name was so familiar to me, as it is one more link in the chain of American theatre history that circles back to Masonic scenery.

In 2015, I reconnected with the current steward of St. Paul’s Historic Triune Lodge Building, Kit Cusick. Cusick has tirelessly worked on the preserviation of this building for quite some time. I visited the Triune Lodge building while working as the Curatorial Director for the Minnesota Masonic Heritage Center. My trip was to take pictures of a specific lodge room stencil for possible use at the Heritage Center. I first encountered the lodge room stencil when working on the 1996 touring exhibit, “Theatre of the Fraternity: Staging the Ritual Space of the Scottish Rite, 1896-1929.” My 2015 recommendation to replicate and use the stencil fizzled like many other things in Bloomington, and although my relationship with the Minnesota Masonic Charities ended, my relationship with Cusick did not. During another trip Triune Lodge, I looked at the stage area and encountered a Masonic roll drop with a  Joy & Cannon stencil. Coincidentally, my discovery was 100 years after Hubal listed the studio on his draft card.

“Joy & Cannon Scenic Co.  Metropolitan Opera House, St. Paul, Minn” was stenciled on the back of a picture sheet in the lodge room. This suggests that Joy & Cannon were renting the paint frame at the Metropolitan Opera House, and using that space as their studio.

The lodge’s picture sheet included a white center for projections that was circular in shape.  Vaudeville houses, lodge rooms, social halls and early cinemas used similar designs before defaulting to solely white screens. A comparable picture sheet was installed at the Minneapolis Scottish Rite Theater for glass slide projections during degree work. For projections and early films, vibrantly painted draperies, frames and architectural ornamentation surrounded the white center. One way to brighten up a black and white film, especially when the general public is used to colorful scenic illusion on the stage!

Being completely unfamiliar with the history of Joy & Cannon, I immediately emailed Lance Brockman. On January 16, 2018 he responded: “This is (Boyd) Joy and Cannon Studios.  There were as many as 5-6 at one time in the Twin Cities (teens and twenties).  I first learned about them from Vic Hubal’s materials that his son shared with me.  There was a catalog amongst his memorial stuff.  As I was told by Bill Brown [Twin City Scenic Co.] that most of the studios were start-ups from disgruntled employees.  They would strike out on their own and come back once they had lost sufficient money.  Twin City Scenic Co. would intentionally bid projects under cost just to achieve those results.”  

I filed this little bit of studio information away and went on my merry way.  Brockman’s response gave me a few markers when combing through various databases online this week. First of all, having a visual and detail-oriented memory is an asset – except when it comes to looking for my car keys or purse where I seem to forget all pertinent details. However, once in a while that cartoon lamp lights up over my head lights up over my head. That happened when I saw “Joy & Cannon” on the draft card for Hubal.

Joy & Cannon was a scenic studio that appeared during 1916 and had a sporadic existence, as the founders filtered in an out of a few business entities and projects during the First World War.

Joy & Cannon was still being advertised in the Film Yearbook of 1922-1923, which surprised me, after looking at dozens of city directories and cross checking the employment of the two founders. By this time, Cannon was known for his camouflage painting for the United States Marine Crops. And Joy was president of Universal Scenic Studio.

During the second and third decades of the twentieth century scenic studios popped up like daisies across the country. It is hard to convey the scope of painted illusion produced for a variety of entertainments at the time, or those who founded scenic studios.

Here is a list of scenic studios listed in the 1922-1923 Film Yearbook: Acme Scenic Artists Studios (Chicago), Armbruster and Sons (Columbus), Atlanta Scenic Co. (Atlanta), Baker & Lockwood (Kansas City), J. H. Beaumont Velvet Scenery Studios (Kansas City), The Wm. Beck & Sons Co. (Cincinnati), Wm. Bradley Studios (NYC), Wm. Campf Studio (NYC), Cox Scene Painting Studio (Philadelphia), Geo. Davis Scenic Studio, (Philadelphia), Enkeboll Art Co. (Omaha), Excelsior Studios & Theatre Supply Co. (Kalamazoo), Fabric Studios (Chicago), Fetters & Fisher (Philadelphia), Fredericks Scenic Studio (NYC),  Gates and Morang (NYC), Hamilton Studios (NYC), D. C. Humphreys Co. (Philadelphia),  Irwin & Sparks Scenic Studio (Philadelphia), Joy & Cannon Scenic Studio (St. Paul), Kahn & Bowman (NYC), Kansas City Scenic Co. (Kansas City), King Scenic Co. (Dallas), J. B. La Touche (Clearfield, Iowa), Lee Lash Studios (NYC), Law Scenic Studios (NYC), Jos. P. McHugh & Son (NYC), Manhattan Scenic Studios (NYC), Herbert L. Messmore Co. (NYC), Murray Hill Scenic Studios (NYC), New York Studios (NYC), Frank Platzer Studio (NYC), Theo. Reising & Co. (NYC), St. Louis Float & Scenic Co. (St. Louis), Schells Scenic Studio (Columbus), Jno. A. Servas Studio (Rochester, NY), D. Sheek & Co. (Cleveland), Star Scenic Studio, Inc. (Omaha), O.L. Story Scenic Studio (Boston), Allan J. Turner Studio (NYC), Twin City Scenic Co. (Minneapolis). Universal Scenic Artists Studios (Chicago), Werbe Scenic Studio (Kansas City), and Young Bros. (NYC).

This list is only a small portion of studios in the United States during the early 1920s, yet paints a picture of how rapidly the industry was growing in the post-WWI period. Consider that some the major studios were not even mentioned in the Film Yearbook of 1922-1923, such as Toomey & Volland (St. Louis) or Sosman & Landis (Chicago). These well-known giants of the industry had enjoyed a secure position for decades of experience and a dedicated clientele. When they came into existence, there was more work than providers and the competition was friendly. The balance begins to shift by the 1920s, even before the great depression. In many cases, disgruntled employees started their own studio, hoping to retain a greater percentage of their profits for their work. Many were short-lived, as their previous employers targeted the same work and were prepared to take a loss. It was a loss they could afford while crushing the new competition.

But there was also a shift in the industry as the demand for painted scenes began to diminish. The call for fabric draperies and settings ushered in a new era. This combined with the popularity of film caused many studios to falter and eventually close. Even the largest scenic studios were not immune to the industry shift. Joy & Cannon Scenic Studio, as well as many other small firms, appeared at a time when they would encounter a series of challenges, most beyond their control. Embracing the new trends and technologies was the only way to weather the storm. As I continue with the life and times of Thomas G. Moses in the pre- and post-WWI era, the company faltered because of their focus on painted scenery and inability to embrace change. As company president, Moses placed all of his bets on the wrong horse.

Tomorrow, I look at the lives of Boyd Phelps Joy and Gerald V. Cannon, scenic artists and founders of Joy & Cannon Scenic Studio.

To be continued…

In 1917, Victor J. Hubal painted stock scenery for the C.S.P.S. Hall at 383 Michigan Street, St. Paul, Minnesota. In addition to a drop curtain depicting Praha (Prague), there were roll drops, wings, and set pieces. The settings included 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.  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 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. 

As the Czech and Slovak Sokol Minnesota website states, “Vítejte! Welcome! Czech and Slovak Sokol Minnesota is affiliated with American Sokol, Western District, which grew out of an international movement founded in Prague in 1862 by Dr. Miroslav Tyrš. There are Sokol units and chapters around the world, with the founding chapters still located in the Czech and Slovak Republics. Our unit was formed in 1882, and we are a social, cultural, educational and gymnastic organization. Through our many social activities and educational programs, we seek to preserve and transmit the vitality of our Czech, Slovak and immigrant heritage to future generations.

“The historic Česko-Slovanský Podporující Spolek (C.S.P.S.) Hall at 383 Michigan Street in the West Seventh neighborhoods of Saint Paul has been our home since 1879, and the focal point for our activities in Saint Paul since the current building was built in 1887. It was declared a National and State Historic Site in 1977, placed on the National Register of Historic Sites, and is the longest serving Czech-Slovak cultural center in the United States, and oldest fitness center, theater and immigrant national hall in the State of Minnesota. Czech and Slovak Sokol Minnesota welcomes all who share an interest in history, culture, gymnastics and good fellowship. You need not be Czech or Slovak to be a member. 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 C.S.P.S, 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, and have periodically returned over the years to repair any new damages, meeting new people and establishing new friendships each time. I even joined the organization a few years back and took some Czech language classes. Before I restored the roll drops, however, Lance Brockman, Scott Brummond, Matthew Meilke and Tom Thatcher restrung the lines during 1985. At the time, it was Victor J. Hubel, Jr. who represented the Executive Board at Sokol Minnesota, and send a note of appreciation for this work.

The Hubal scenery collection is loved by members for its connection to the past and to a country than many members will never visit. 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. When the perception of historic backdrops is reduced to old backings, they are handled differently. If they are perceived as being replaceable, this adds another layer of complexity to attempts at preservation for the long term. In regard to Hubal’s legacy, gymnastics equipment constantly comes in contact with the delicate fabric of wings. 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, as the well-loved scenery is treated as stage scenery and not large-scale artworks created by nationally recognized artists.

This is not to say that there drops are uncared for, as there is often always at least one person who takes responsibility in any historic venue, defending a scenery collection against potential threats. These are the individuals who constantly attend board meetings and remind members about the significance of their historic scenery. They also show up to rescue scenery when a pipe bursts, a roof leaks, or a renter damages a particular scene.  I met the current defender of Hubal’s 1917 scenery over a decade ago. He was the older brother of a university alum, Steve Draheim. Chuck Draheim is now the ardent defender of Hubal’s painted legacy in St. Paul. His heroism goes unsung, and I am sure he may often be perceived as an annoyance at board meetings, yet the scenery continues to survive because of his efforts. Chuck and I met after Steve passed along my contact information; some of the restored scenery needed repair.

The struggle that Draheim encountered in St. Paul happens all across the country. There are things to consider when pondering the value and cultural significance of historic scenery, such as that painted by Hubal. For example, one artist produced the scenery at the Czech Hall in St. Paul; this is a remarkable find in its own right added artistic provenance to the collection. Many scenery collections had multiple hands creating the various scenes with most remaining unidentified. When an installation produced by a single individual remains intact, it is unusual. When that person has a long and successful career, integrally linked to a variety of nationally significant productions, the artistic provenance is again increased.  Hubal was very important in the scope of American Theatre, as well as Minnesota Theatre and this may some of his last extant stage work. Although scenery can last for decades, even centuries, the eventual deterioration is based on environment and use; both are currently working against Hubal’s painted legacy in St. Paul.

Victor J. Hubal Sr. passed away on Feb. 15, 1972, and is buried at Union Cemetery in Maplewood, Minnesota. This is only thirty minutes away from my home and it may be time to pay my respects to this talented artist who made such a difference in the Minnesota Arts community.

To be continued…

I continue with my exploration of Victor Hubal, a Sosman & Landis scenic artist who later worked for a variety of other studios. The 1930 Census listed Hubal (41 yrs.), living with his wife Eloise (32 yrs.) and children, Glenn James (11 yrs.), Lucille (8 yrs.) and Victor Jr. (6 yrs.) at 439 E. Sixth Street in St. Paul, Minnesota.

When Hubal passed away in 1972, the “St. Paul Dispatch” included a lengthy article about Hubal reporting, “Among his other works were early Shipstad and Johnson “Ice Follies” productions and 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 was repeatedly connected with the production as the sets were repaired and new elements were added.

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/

My life intersects with Hubal’s on multiple planes, not having been aware of his existence until studying at the University of Minnesota and working with Lance Brockman. I knew nothing of the Spearfish Passion Play, however, until I was working in Spearfish and restoring the Twin Cities Scenic Co. collection delivered to the Matthews Opera House in 1907.  Although many of my friends and family had made pilgrims to see this massive outdoor production, it didn’t pop up on my radar until 2017. And then while sharing some restoration stories with a good friend in Duluth, I made a connection. My friend’s eyes lit up when I mentioned Spearfish.  “Spearfish?!?” she asked. “I have many stories about that place and the production my mother managed.” My friend was Nancyelaine Rusk Anderson, and she proceeded to she share a series of stories about the touring production and its founder Meier. What a connection to discover out of the blue!

I met Nancyelaine and her husband Duane in 1991.  He was a well-respected Masonic scholar in Duluth and pulled in to help Brockman document the Scottish Rite scenery collection there. Nancyelaine taught dance, and has once been the prima ballerina with the Kansas City Ballet, as well as a concert pianist in the region. Her studies extended to Egyptian hieroglyphics and automotive repair. I still find her absolutely brilliant and fascinating. Duane was a mathematician with a passion for the Fraternity. He was on the Southern Jurisdiction Scottish Rite’s ritual revision committee and in line to be Grand Master of Minnesota in the 1990s.  Duane was part of the Scottish Rite network that helped Brockman during the “Theatre of the Fraternity” Symposium that evolved onto the 1996 touring museum exhibit: “Theatre of the Fraternity: Staging the Ritual Space of the Scottish Rite, 1896-1929.” Working as his research assistant for both events, this exposure to Masonic scenery for the stage fueled my passion for scenic art and directed the course of my career.

I reconnected with Nancyelaine in 2015 while working as the Curatorial Director for the Minnesota Masonic Heritage Center. Her name was passed along to me when I sought various resources to help with shape the museum displays for various Masonic groups. I was looking for artifacts, information, and various Masonic representatives during the design phase of the six museum galleries.  Nancyelaine has a depth of knowledge about Masonry for women that is unparalleled, having ascended to some of the highest state and national positions in five Masonic organizations. My initial correspondence with Nancyelaine led to my securing the Duane Anderson and Nancyelaine Rusk Anderson Library for the Minneapolis Scottish Rite. After the acquisition, however, I continued to visit my friend in Duluth whenever I traveled north.

To be continued…