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).
Thomas G. Moses building a model, date unknown.One scene from Masonic model built by Thomas G. Moses in 1931.Other scenes designed by Thomas G. Moses for his model in 1931.
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.
Twin City Scenic Co. model. Twin City Scenic Co. model lines to operate scenery samples.The Twin City Scenic Co. model room.
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.”
Abdallah Shrine Scenery article in “The Leavenworth Times,” May 14, 1922.
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.
Postcard depicting the Abdallah Temple in Leavenworth, Kansas.
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.
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.”
Boy P. Joy, picture in the 1919 “Argus-Leader” article
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.
Universal Scenic Studio, Inc. Milwaukee, Wisconsin.Universal Scenic Studio, Inc. Milwaukee, Wisconsin, “scene building department.”Universal Scenic Studio, Inc. Milwaukee, Wisconsin, “scene painting department.”Universal Scenic Studio, Inc. Milwaukee, Wisconsin, “scene painting department.”Universal Scenic Studio, Inc. Milwaukee, Wisconsin, “drapery department.”Universal Scenic Studio, Inc. Milwaukee, Wisconsin.Universal Scenic Studio, Inc. Milwaukee, Wisconsin.Universal Scenic Studio, Inc. Milwaukee, Wisconsin.
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.
An advertisement curtain created by Universal Scenic Studio, St. Paul, Minnesota that was recently discovered during the spring of 2018.
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 38th 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.
Gerald V. Cannon featured in the “Star Tribune,” 5 Nov. 1950, page 21
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 175th 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.
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.
Boyd P. Joy, pictured in the “Argus-Leader,” 22 March 1919, page 12
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. 9th 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.”
Boyd P. Joy, from the “Concordia Press,” (Concordia, Kansas) Jan. 7, 1904, page 1
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 11th 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.
Boyd P. Joy, from the “Grand Forks Herald,” Sept. 13, 1906, page 5
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
38th 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.
Joy & Cannon stencil on the back of a roll drop at the Historic Triune Masonic Lodge in St. Paul, Minnesota. Boyd P. Joy was a Mason.Joy & Cannon Scenic Co. paint bridge. Image from an undated Joy & Cannon catalog, owned by the Victor J. Hubal family.Image from an undated Joy & Cannon catalog, owned by the Victor J. Hubal family. Image from an undated Joy & Cannon catalog, owned by the Victor J. Hubal family.Image from an undated Joy & Cannon catalog, owned by the Victor J. Hubal family.
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 44th 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.
Universal Scenic Studio stencil on the back of a drop delivered to Le Centre, Minnesota.
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
Design by Victor J. Hubal in the Twin City Scenic Co. Collection at the University of Minnesota Performing Arts Archives.
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.”
Advertisement for Joy & Cannon Scenic Co. in Joy & Cannon in the Opera House reporter, 1916, page 5
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.
Stencil in Triune Lodge RoomHistoric Triune Lodge in St. Paul, Minnesota
“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!
Joy & Cannon picture sheet at Triune Lodge, St. Paul, MNTwin City Scenic Co. picture sheet at the Minneapolis Scottish Rite
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.”
The paint bridge for Joy & Cannon Scenic Co. pictured in their catalog.
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.
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.
C.S.P.S. Hall in St. Paul, MinnesotaThe third floor at the C.S.P.S. Hall in St. Paul, Minnesota.The drop curtain painted by Victor J. Hubal (1888-1917) at the C.S.P.S. Hall in St. Paul, Minnesota. The scene depicts Praha (Prague).
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/.”
Poster on the wall at the C.S.P.S. Hall in St. Paul, MinnesotaVictor J. Hubal Sr. Image posted to ancestry.com
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.
Some of the roll drops at the C.S.P.S. Hall in St. Paul, MinnesotaGrooves above the stage at the C.S.P.S. Hall to accommodate wings. some of the upper grooves are on swivels to help angle the wings.Flats painted by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, Minnesota
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.
A roll drop by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, MinnesotaA roll drop by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, MinnesotaOne of the many set pieces painted by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, MinnesotaOne of two interior settings painted by Victory J. Hubal for the C.S.P.S. Hall in St. Paul, MinnesotaA roll drop by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, MinnesotaA roll drop by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, MinnesotaA roll drop by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, MinnesotaA roll drop and woodland set pieces by Victor J. Hubal for the C.S.P.S. Hall in St. Paul, Minnesota
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.
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.
Undated photograph of the Victor J. Hubal family, likely from 1924.
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.
The Black Hills Passion PlayThe Black Hills Passion Play
Meier brought his Passion Play to the United States in 1932. Born in Lünen, Germany, he was the seventh generation of his family to portray Jesus in the biblical drama. Meier translated the production from German to English and brought a small company to the United States, premiering the show in New York and then taking the production on tour. By 1939, Meier found a permanent home for his production in Spearfish, South Dakota, building a 6000-seat amphitheater. Even after settling in Spearfish, later toured the United States and Canada until 1964. The production was performed in more than 650 cities over the years, becoming an annual event for many cities. Meier remained part of the production until 1991, when he retired after performing in 9000 performances. Meier passed away eight years later at the age of ninety-four. The Black Hills Passion Play outlived its founder, lasting until 2008 when the summer performances finally ended. For more information about the show, there are amazing photographs available to peruse online, part of the Fassbender Collection. Here is the link: https://www.historicblackhillsstudios.org/keyword/Black%20Hills%20Passion%20Play/
Image from the Fassbender Collection that depicts the scenery produced by Victor J. Hubal, Sr.Painted detail of the scenery by Victor J. Hubal for the Black Hills Passion Play in 1939.
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!
Image from the Fassbender collection depicting the touring production.
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.
Scenes from later productions of the Black Hills Passion play currently for sale online.Scenes from later productions of the Black Hills Passion play currently for sale online.Scenes from later productions of the Black Hills Passion play currently for sale online.
On January 12, 1912, “The News-Democrat” mentioned Sosman & Landis employee
Victor Hubal. Hubal was painting scenery for the Kentucky Theatre in Paducah, a
venue that first opened its doors on September 24, 1901. The Kentucky Theatre
advertised “refined plays at family prices – 10, 15 and 20 cents. At the prices
you can bring your family at least twice a week, pass a pleasant evening with
them at this beautiful resort, and while being highly entertained save more
than the price of admission asked in gas and fuel.”
On January 15, 1912, the Kentucky Theatre began a short season of permanent
stock, with Manager Finney engaging the Garside Stock Company for fifty weeks.
They were scheduled to perform two plays a week. The “News-Democrat” article
continued, “Each play will be a production from a scenic point of view, as Mr.
Vic Hubal, of the Sosman & Landis studio, Chicago, has been engaged to
paint all the scenery, and is now hard at work at the Kentucky on the first
production of ‘The Devil’s Kitchen,’ which will be the bill for the first three
days, Monday, Tuesday and Wednesday.”
At the time, Hubel was 24 years old and living in Chicago, Illinois.
Victor Hubal (right) with fellow scenic artist George Wood in 1912.
Victor J. Hubal was born in Chicago on May 10, 1888. His father, Felix
Hubal (b. Nov. 1861), was a Czech immigrant. His mother, Theresa Mary Koranda
(b. 1864), was born and raised in Illinois. Hubal’s parents both worked, his
father as a baker and his mother as a seamstress. Like Thomas G. Moses’ family,
there is no indication of any connection to the performing arts, yet Hubal
entered the theatre industry at the age of 17 in 1905. The 1910 United States
census reports Hubal as still living with his mother and two siblings, Otto (20,
born 1890) and Lucy (18, born 1892) at 3528 W. Cortland St. in Chicago. The
census lists Hubal as an artist and his sister as a stenographer, with his
brother being unemployed. Seven years
later in 1917, the WWI draft registration card reported Hubal’s appearance as
“medium” in height and “medium” in build with gray eyes and dark brown hair.
His draft card also noted that Hubal claimed exemption status based on “kidney
trouble.”
In 1917, Hubal met and married a Minnesota girl, Eloise L. Strenlund (1897 – 1984), moving his new bride to Chicago. The couple’s first address was 5030 Hutchinson St, yet familial ties would prompt the couple to relocate to the “Land of 10,000 Lakes,” raising their family in Minnesota.
Eloise’s father was a Swedish immigrant. Anton Strenlund arrived in the
United States in 1887 at the age of sixteen. Traveling west, he worked as a
carpenter and finally settled in Minnesota where he married Alise Oberg on August
21, 1897. At the time, she was pregnant, giving birth to Eloise on November 12,
1897. The couple’s second child Arthur
arrived on 29 September 1900, with their third child, Ernest William, being
born on April 1, 1903. When Eloise turned 17, she moved to St. Paul and began
working as a clerk. Her new profession and new address at 1010 Euclid Ave. were
listed in the 1915 St. Paul Directory for the next two years before moving to
Chicago. Life married to a scenic artist in Chicago must have been a been a far
cry from her simple upbringing in Minnesota.
Like Moses, Hubal’s scenic art career extended for more than sixty years and his work was featured across the country in both live theater and film productions. After moving to Minnesota, he became an integral part of the opera and theatre scene.
Victor Hubal pictured with fellow scenic artists in front of an ad drop. Date unknown.Victor Hubal pictures in front of a painted interior with co-worker. Studio and date unknown.
Although Hubal’s scenic art career began in 1905, little is known of his
early work or the studios that he was associated with for the first six years. By
1912, however, he was working for Sosman & Landis in Chicago, as well as
continuing as an itinerant artist, picking up work across the country during
slow times.
Hubal’s 1972 obituary in the “St. Paul Dispatch” reported, “His work graced some 50 productions of the St. Paul Civic Opera, as the organization was then known, from the initial one, ‘Samson And Delilah’ in 1933, to ‘The Merry Widow’ in 1963. He also did the decorations and designs for a number of the International Institute’s, “Festival of Nations” at the Auditorium and was responsible for the mounting of major productions at Andahazy Ballet Borealis. (Feb. 20, 1972).” Other Andahazy production settings painted by Hubal included “Slavonic Scenes,” “Les Sylphises,” “Swan Lake,” “Spectre de la Rose,” “Aurora’s Wedding,” “The Miraculous Stag” and “Scheherazade.” I discovered a 1954 article that provided some insight into the scenery produced by Hubal for the Andahazy Ballet Borealis company at Northrup Auditorium on the University of Minnesota Campus. The “Star Tribune” described the scenery for “Les Sylphides:”
“The setting, a woodland glade, by Victor Hubal, had a spacious, semi-transparent
effect which enhanced the quality of the ballet” (Minneapolis, Minnesota, 0
July 1954, page 29). The article also noted that the ballet company was
composed of 40 dancers and headed by Lorand Andahazy and Anna Adrianova.
In regard to Hubal’s “Swan Lake” scenery, an entertaining tale was published
in the “St. Paul Dispatch.” During the execution of scenery for “Swan Lake,”
Andahazy accidentally upset a pail of dye onto the canvas and apologized. “Hubal
said, ‘Never mind” [and] with deft strokes he converted the dark blotch into a
rocky formation and balanced the composition by converting some trees into more
rocks on the other side.” The “Dispatch”
article ended with a description of the artist’s character: “A man of artistic sensitivity and great skill
and accumulated knowledge of his craft, Hubal labored largely in obscurity, for
he was shy and retiring by nature and had no talent for self-promotion. But the
contributions to the community to which he made in his self-effacing way for so
many years were great, and they can be remembered with respect and gratitude
One more insightful story about Hubal appeared in conjunction with his scenery for the St. Paul Civic Opera’s production of “Rigoletto.” Hubal’s past with the film industry was also described in a newspaper article:
“When the curtain rises Wednesday it will be on the work of a man who might have been prominent in his field in motion pictures as Wallace Beery and Charlie Chaplin are in theirs, had it not been for the fact that he found black and white too monotonous. He is Vic Hubal, scene designer for the opera association. When the motion pictures were in their infancy, Hubal, already an accomplished scene designer for some of the largest production and road shows in the country, wandered into the old Essanay Film company’s lot in Hollywood. There he went to work on designing backgrounds against which Charlie Chaplin, Ben Turpin and Beery were to cavort. But the backgrounds were all black and white, because those were the only colors to film well. There were relieving incidents once in a while, as he when he would be called down from his scaffold to take the part of a cop, or when he was called into the dressing room to make up Turpin for his monkey roles, but on the whole, black and white was too confining for a true scenic artist. Hubal went on to train with Fred Scott, Ansel Cook and Fred Lewis…” Scott and Cook both worked at Sosman & Landis, therefore, the article is likely referencing his time at the studio around 1912.
I will continue to explore the life of Vic Hubal tomorrow, as there is too much to put in one post.
At the beginning of 1912, Thomas G. Moses wrote, “starting
some new work for the Palace Theatre.” Moses
was referring to the 1500-seat Palace Music Hall, advertised as “Chicago’s New
Vaudeville Theatre” in 1912.
Detail of a Palace Music Hall program currently for sale online.Detail of a Palace Music hall program currently for sale online.
Built at N. Clark Street and W. Randolph, the Palace Music
Hall opened on April 1, 1912. Designed
by Holabird and Roche, the new Palace Music Hall was advertised across the
country. An article in the “Daily
Herald” noted that the Palace Music Hall was the newest theater “situated in
the heart of Chicago’s theatre district and that “leading artists of the world”
would be featured at this “high-class vaudeville” house (August 30, 1912, page
11). The article further reported, “The building department of Chicago has
pronounced the Palace the most perfectly constructed and equipped theatre in
the country.” Hmm. I have noticed that most new theaters during this period were
advertised as the “best” that could be found in country, often including
validation by some organization or well-known personality. Great marketing
technique to get the public in the doors.
The Palace Music Hall, Chicago, Illinois.
Performances at the Palace were given twice daily, once at
3:15 PM and once at 8:15 PM. Individual seat prices were 15 cents, 25 cents, 50
cents and 75 cents. Like many theatres
during this time, however, there was a shift in popular attractions and
entertainment, often promting a change in owners. Abraham Lincoln Erlanger
acquired the lease for Chicago’s Palace Theatre building during January 1926.
He extensively remodeled the theater, renaming it the Erlanger Theatre. The Erlanger
theatre remained open until March 10, 1962. The building was soon demolished,
with the theater’s original location and remainder of the block being razed to build
the Chicago Civic Center, now the Richard J. Daley Center. Neither this venue,
nor the original Palace Theatre, are to be confused with Chicago’s New Palace
Theatre, a venue designed by Rapp & Rapp and located on Randolph and La
Salle Street in Chicago in 1926. The second “Palace Theater” opened Oct. 4,
1926 and is now known as the Cadillac Palace Theatre.
The Palace Music Hall, Chicago, IllinoisWhen the Palace Music Hall became the Erlanger Theatre in Chicago, Illinois.
In 1912, Martin Beck
announced his intention to “invade” the east and Chicago with the new Palace
theatres. The Palace Theatre in Chicago and the Palace Theatre in New York were
intended to fight eastern interests. Beck’s Palace theaters were also mentioned
in an interesting 1912 newspaper article published across the country. “Woman
Back of a Theatre Trust” was the title and the article’s headline stated, “Mrs.
Katherine Kohl Carries Out Late Husband’s Ideas for Territory Division. STOPS
VAUDEVILLE WAR” (Rock Island Argus, 30 April 1912, page 9). Here is the article
in its entirety, as I found it quite fascinating:
“Chicago, April 20, 1912.- The efforts of a Chicago woman,
Mrs. Catherine Kohl, has averted a threatened vaudeville war which would have
involved millions of dollars and has brought about a combination of theatrical
interests aggregating $50,000,000.
Her months of endeavor have resulted in a union of men of
the east and west representing practically the same theatre interests but
operating in different territories. By the new arrangement the eastern magnates
will keep in their own territory, the western magnates in theirs and Mrs. Kohl
will be left the mistress of the situation in her Chicago theatres, founded by
her husband and left to her on his death a year ago.
By the deal, completion of which was just announced in New
York, B. F. Keith has purchased interests of Percy G. Williams, controlling
eight theatres in New York, and a working agreement has been entered into by
the different vaudeville powers by which there will be no friction in the future.
A general agreement has been made as to the placing of different vaudeville
acts and the ‘time’ to be allotted performers.
This new assignment of territory and interests stops a new
vaudeville war started some time ago when Martin Beck opened the Palace theatre
in New York and followed it by the Palace theatre in Chicago. These two houses
were to be used in conjunction with others, to fight the eastern interests. By
the new terms of the Chicago theatre, which is now playing vaudeville, will
change its policy. It is said the first sign of the change will be when ‘A
Modern Eve,’ now playing at the Garrick theatre, is transferred to the Palace theater.
Under the new combination thousands of performers are
virtually interested. Mr. Keith with E. F. Albee, A. Paul Keith and John J. Murdock
will control the vaudeville situation far west as Chicago. The situation in
Chicago will be under the control of Mrs. C. E. Kohl, Max Anderson and the
Monroe Amusement company. Meyerfeld and Beck of the Orpheum circuit will
control the remainder of the country for the Orpheum circuit.
Mr. Keith will have control of the situation in the east,
Mrs. Kohl in Chicago, and Martin Beck for the Orpheum circuit west of Chicago.
The new combination was caused by the announced intention of
Beck to invade the east and Chicago, his new Palaces theatres being his first
step in this regard. Theatrical managers saw ahead another theatrical war which
probably would duplicate the efforts of Klaw & Erlanger to break the
vaudeville trust some years ago and the fight of William Morris along the same
lines. But before the war was fairly advanced the alignment of interests was
accomplished.
‘The late Charles E. Kohl planned more than once to bring about
this arrangement which would place the Majestic and other large theatres in
association with the east,’ said Lyman Glover, general manager for the
Kohl-Castle theatres, last night. ‘He wanted to leave the west as an empire for
the Orpheum circuit. His widow has labored effectively in promoting the agreement
now reached. The result will clear up the situation, prevent ruinous
competition, provide better and more uniform vaudeville bills, and simplify the
business in many ways.’
From New York at night a statement was issued by Meyerfield
and Beck.
‘It always has been our fondest desire,’ the statement said,
‘to bind the east and west together in a more substantial way. The consummation
of the deal just put though by Mr. Keith and ourselves is a happy solution of
our difficulties and is most satisfactory to us.
‘The situation, as far as territory is concerned, is no
different than it was before, but by buying interests with Mr. Keith and in
other ways tying our interest more closely together we have accomplished
something for which we have been working for years, and the public and artists
will reap the benefits as well as ourselves.
‘We are all men who have practically brought the high class
vaudeville business to its present high standard, both sides owning controlling
vast interests thoroughly established. And we feel that the fruits of our labor
for 30 years have been consummated by the arrangement we have entered into.’”
