Copyright © 2025 by Wendy Waszut-Barrett
There are two scenery collections at the Long Beach Scottish Rite: The Martin Studio Collection (c. 1900-1926) and The Phil Raiguel Collection (c. 1962-1979).
The Phil Raiguel collection includes new and refurbished scenery handled by Curran Productions, and Bates Lighting Co. & Scenic Studio. Both were owned and operated by the Los Angeles Civic Opera Association (LACOA). Scenes painted by Paul Raiguel (1915-1998) for the Long Beach Scottish Rite are often signed, noting his Masonic affiliation as a 32nd degree Scottish Rite Mason.
Raiguel not only painted twenty-one drops between 1966 and 1979, but also repainted a Martin Studio’s Egyptian scene that was originally delivered in 1926.
Phillip “Phil” Smith Raiguel, Jr. (1915-1998) was the son of Phillip Smith Raiguel (1883-1940), Sr. and Emily Dutton Brower (1885-1978).
Raiguel Jr. grew up in Grand Rapids, Michigan, where his father initially worked as a salesman for the Michigan Seating Company. He was later identified as a “Veteran in the Furniture Industry” in the Wood County Reporter on Feb. 1 Feb 1917. The Raiguel family had deep ties to the Grand Rapids lumber industry. Phil’s grandfather, William Raiguel left Philadelphi to enter the lumber business in 1870. He later established Raiguel & Co., before representing Osterhout & Fox Lumber Co. It appears that the family was relatively well off, with Phil being able to explore local thespian opportunities.
Phil was introduced to theatre at Ottawa Hills High School where he participated in several dramatic productions and was a member of Mimes. Raiguel’s high school yearbook described this extracurricular group in 1933:
Mimes is an honor society organized for the purpose of maintaining a high standard of dramatic taste at Ottawa Hills High School. Students are admitted to a membership after they have proved by participating in at least one public program that they can meet the threefold standard of loyalty to the ideals of the club, voluntary service, and quality of work.
Mimes and the Ottawa Hills dramatic program were under the sponsorship and direction of Miss Mary Baloyan. She is an individual worthy of note, not only in the context of Raiguel’s life and career, but as an immigrant who contributed to North American Theatre. I have not come across many tributes to women like Baloyan. She was a driving force in Grand Rapids that directly fueled Raiguel’s love for the theater and is worthy of note.
Years later, Raiguel was listed as one of her many students that continued in the arts. On Sept. 1, 1980, The Grand Rapids Press published an article entitled “Mary Baloyan. Her Students Learned Well.”
Baloyan’s parents were the first Armenian immigrants to arrive at Grand Rapids in 1896. She was one of three children born to the young couple with her father establishing an oriental Rug business. Bayolan’s grandfather also emigrated to Grand Rapids and worked as a carver for the John Widdicomb Furniture Co. The article reported,
Mary and her sister also took dancing lessons that led to her teaching a class in ballet pantomime in the Travis school. She also took classes in drama at the YMCA and private lessons in art. 2 yrs. at Grand Rapids Junior College and then University of Michigan, she received a BA and MA in English. Afterwards she taught for two years at the old North Division Avenue School and then Harrison Park School for five years. At Harrison, she met Paul Stephenson, director of Grand Rapids Civic Theater, who persuaded her to study drama at Yale University for a year under the famed George Pierce Baker, the man credited with having inspired at least a dozen of the country’s finest dramatists. By the time Mary had completed her work at Yale she had earned enough credit hours for her doctorate, but they were spread over so many fields that she decided not to pursue that degree. Her work at Yale had been intended to prepare her for either education or a career in the theater… While she enjoyed acting, her real bent was for teaching. Then she taught at Ottawa Hills High School… She was at Ottawa Hills for 21 years, for 13 in dramatics.
Raiguel was fortunate to be at Ottawa Hills during the same time as Baloyan. Her list of successful students was quite long, with the article reporting, “Many others found their way into theatrical work, Wallace Standards became technical director for the Lawrence Welk Show, Lloyd Bethune became an actor in New York, Phil Raiguel did technical work in Hollywood. George Bethune became a designer for an art gallery, Barry McGee, who did some work for Civic Theater eventually went west to stage shows on the Pacific Coast.”
Jack Thompson, paid tribute to Baloyan in a Harper’s Magazine article entitled “Yesterdays in Grand Rapids.” He credited her with being the teacher who had the greatest influence on him.
Baloyan also devoted more than 20 years to the Grand Rapids Civic Theater, having served as board member, vice-president and president, working on campaigns as co-chairman and as chairman of other committees. By the way, annual dues for the Grand Rapids Civic Players were $5 and included admissions to the six plays of the season, opportunities to study dramatic direction, to participate in amateur plays, and to serve on the organization’s committees. It was at the Grand Rapids Civic Theatre that Raiguel transitioned from performance to scenic art.
By the spring of 1936, Raiguel was listed as assistant director for the Civic Players. He was also noted for some scenic contributions that year. He soon moved to California where he landed work with Twentieth Century-Fox Film Corporation. Raiguel’s uncle, Otto Brower (1895-1946) was also associated with Twentieth Century Fox as a traveling unit director, having moved to Hollywood in 1917.
Bower initially worked as a performer, taking on bit parts in pictures with Charlie Chaplin and other greats of the era, then transitioned to unit director, director, and eventually producer.
Raiguel was fortunate to have a familial connection in Hollywood. Brower had gained a reputation for action and authenticity in his outdoor scenes, Between 1928 and 1946 he directed more than forty-five films. His 1946 obituary in The Los Angeles Times noted “Brower had been with 20th Century-Fox since 1933. One of the most widely-traveled directors in Hollywood, he had made films in Alaska, South America, Africa, Costa Rica and the South Seas. His first megaphonic effort, Slave Ship, was made in 1923, and he directed such stars as Wallace Beery, Gary Cooper, and Richard Arlen.”
Just prior to Raiguel’s move to Hollywood, he was extremely active with the Civic Players in Grand Rapids. His association with the group was repeatedly mentioned in The Grand Rapids Press. He performed in Trial of Mary Dugan and Squaring the Circle during the spring of 1936. His scenic art was also noted at the end of the season in As Others See Us. On May 23, 1936, The Grand Rapids Press reported, “The scenic backgrounds and settings, in keeping with the atmosphere of the play, were designed by Phil Raiguel and Jean Hunt Savage.” Raiguel and Savage (1911-1984) had been working together for a few years. On Oct. 24, 1935, The Grand Rapids Press listed Jean Hunt Savage, Phil Raiguel, and Neva Marzolf as production staff for the Civic Players production of Thunder in the Air. In 1935, Savage was in charge of the technical work for Ladies in Waiting (The Grand Rapids Press 6 Dec 1935) Similarly, on March 16, 1936, The Grand Rapids Press credited Savage with the stage settings for Variations on a Theme. During this time, Raiguel primarily worked as the assistant director for the Civic Players, not a designer or scenic artist.
That fall, Raiguel’s absence from the Civic Players was reported in local news. On Sept. 26, 1936, The Grand Rapids Press announced that for the upcoming performance of Fresh Field, “Miss Millicent McElwee will serve as assistant director in the absence of Phil Raiguel, who is in Hollywood.”
Raiguel’s work in Hollywood was noted three years later when he became engaged. On Jan. 2, 1939, The Grand Rapids Press reported, “Mr and Mrs Edward R Rood of College-av. Announce the engagement of their daughter to Phil S. Raiguel, jr., son of Mr. and Mrs. Phil S. Raiguel of Richard-ter. Miss Rood is a member of the Junior League. Mr. Raiguel has been in Los Angeles for the past two years. He is associated with the Twentieth Century-Fox Film Corporation. It remains unclear as to whether Raiguel started off as a performer, production assistant, or painter in California. However, by 1940 he was listed as a scenic artist in San Francisco.
The 1940 US Federal Census listed 25 yrs. old living at 440 Geary Somerton Hotel with several performers and technicians. Two years later, he had moved to Hollywood. In 1942 he was working for Samuel Goldwyn Studio. This was the same year that he married Norma May Fletcher (1917-1997). Fletcher had left her hometown of Roundup, Montana, to become an actress. Their marriage was announced in the Roundup Record-Tribune on Dec. 17, 1942: “Norma Fletcher Marries Hollywood Man Dec 2. Charles Fletcher received word recently of the marriage of his daughter Norma to Phil Raiguel, which took place in Westwood, California on December 2. Both are residents of Hollywood and are employed at the Samuel Goldwyn Studio.”
During the WWII, Raiguel served in the Navy as Carpenter’s Mate, Second Class. His military service included the building and repair of wooden construction, in addition to working with ventilation systems, watertight doors and damage control (fixing leaks).
After the war, Raiguel returned to the theatre, becoming a resident scenic designer for the Players’ Production at El Patio Theater in Los Angeles, an organization that the Los Angeles Evening Citizen described as “Hollywood’s answer to a cry for good repertory theater” (2 Oct 1946 p 7). Raiguel was credited with scenic designs for 20th Century, Blind Alley, On Borrowed Time and Macbeth, to name a few. By the late 1940s, Raiguel was living with his wife and daughter in Beverly Hills. During this time, Raiguel became associated with Homer Curran, designing sets for his Geary Theater in San Francisco, being signed to design the settings for Free for All. Mr. Adam followed, becoming a national touring show. His Broadway credits include The Barber had Two Sons (1943), Slightly Married (1943), Mr. Adam (1949) and Kismet (1953).
The 1950 US Federal Census listed Phil Raiguel as a 35-yrs. old scenic artist, living with his wife Norma, mother Emily, and daughter Mary Jill. Another child was born that fall, Faith Estelle arriving on Nov. 16. During this time, Raiguel became associated with the Los Angeles Civic Light Opera set department. He participated in programs that delivered free opera to San Gabriel Valley children at Pasadena (Covina Argus 24 Feb 1955 p 9), as well as skits produced by the St. Ambrose Episcopal Church in Claremont and the Bellagio PTA in Los Angeles. He was working professionally but also gave back to his community.
Raiguel was also an active part of the art department for numerous films, including the famous Annie Get Your Gun (1957). In 1959, Raiguel was guest speaker at a Pomona College Rembrandt Club meeting. On Jan. 2, 1959, an announcement in the article “Claremont Colleges Announce Programs” stated, “Guest Speaker at the Jan 15 meeting of the Pomona College Rembrandt Club will be Phil Raiguel whose topic will be the Los Angeles Opera Company’s production of The Scenic Artist. The lecture will be held in Montgomery Art Center at 2:30pm.” I would love to know more about this production, or if it was simply a typo – the title of his lecture. So far, I have yet to uncover anything.
Raiguel continued his association with the Los Angeles and San Francisco Civic Opera Associations throughout the 1960s. In 1962, the musical Oliver previewed in Los Angeles with Edwin Lester’s Los Angeles Civic Opera Association. The original Sean Kenny’s sets were duplicated in London for the American Tour. Lester did not care for the stylized approach and ordered Raiguel, his scene shop manager, to glaze down the “wood-grained” sets with red, green, blue, yellow and orange. I find it fascinating that this specific production detail has managed to make its way to Broadway.Fandom.com.
In 1962 Raiguel was also pictured as part of the scenery production team in an article entitled “Panic Alley” (The Los Angeles Times on April 15, 1962). He was part of the production team for Song of Norway, a show about the life and music of Edward Grieg. The performance was part of the Los Angeles Civic Light Opera Association‘s (LACLO) silver anniversary season.
As previously noted, LACLO owned two theatrical supply businesses: Curran Productions and Bates Lighting Company and Scenic Studio. Raiguel worked for both, and his connection is clearly documented on the backside of several Long Beach Scottish Rote backdrops. In 1973 Curran Productions and Raiguel made the news, providing context for the paint frames and space where the Long Beach Scottish Rite drops were painted in the 1970s. On May 18, 1973, the Los Angeles Times reported:
In Hollywood, in the large pie-shaped building of the LACLO-owned Curran Productions, turn-of-the-century Paris is being rebuilt at a cost of more than $100,000 – the pre-Catalan Restaurant, Maxim’s and Aunt Alicia’s apartment, decorated on her principal that “only those who have no taste at all understate.” At the narrow end of the building, the huge warehouse doors are rolled back and period furniture, in unpainted pine, literally bulges out of the shop. William (Bud) Merkle, technical adviser, is supervising 15 carpenters here and another 15 in another shop downtown in building Oliver Smith’s lavish sets. “There’s another thing that puts the pinch on a production this size,” Merkle says. “Rising lumber prices. We’ve got more than $100,000 in materials in the shop alone.” In the wide end of the building, master painter Phil Raiguel oversees the painting of massive sheets of muslin 33 feet high. The backdrops – scrims of the beach at Trouville, the Bois de Boulogne, vast expanses of wallpapers to be attached to wood-framed sets – are rolled and unrolled like giant curtains and painted like paint-by-numbers kits are from the Oliver Smith Originals. Six scenic artists are working in the Hollywood shop, five down town.
Examples of Raiguel’s work for Curran Productions still exist at the Long Beach Scottish Rite. Raiguel painted 21 drops for the Long Beach Scottish Rite and refurbished 5 existing drops in the 1960s and 1970s. On many drops he both signed and dated his work. In addition to his signature, studio stickers and flame-retardant tags give dates for continued work on many pieces.
Below are a few of the scenes painted by Raiguel between 1962 and 1979.
The scenery painted by Raiguel for the Long Beach Scottish Rite is a marked departure from that delivered by Martin Studios in 1926. It depicts a scenic art form heavily influenced by the film industry. The demand for painted illusion diminished throughout the 1920s and 1930s. This trend was exacerbated by the Great Depression. As former Sosman & Landis scenic artist John Hanny wrote, “The depression of 1929 just about stopped the production of stage scenery…At this point the studios disappeared, but the scene painter couldn’t disappear and had to become a freelancer. There was no such thing as a steady job and the boys were hard put to find a day’s pay. Most of the following 10 years were really tough and 1929 proved to be a big change in our business, in purpose, in design, paint, and other materials.”
Raiguel entered the painting business at the same time that many scenic artists were scrambling for work. Some sought employment with the government and others entered the movie industry. Both were a marked departure from what they had been doing for live theater; specifically, scenic art techniques employed prior to WWI. Hollywood artists painted for the camera, tightening their style to make backgrounds appear as reality. Those working for the government were employed to do technical designs, camouflage painting, and other projects. Live theatre increasingly focussed on dimensional scenery, draperies, and lighting effects.
It is not that scenic artists disappeared or that the scenic art industry died, it is that scene painting techniques shifted to reflect expectations form a new audience. In many ways scenic art became more of a scenic craft, adopting the increased use of stencil work, patterns, spatter, and an increasingly solid areas of color. So much became a stylized art form. Color palettes, painting products, materials, and techniques became forever altered, with so much industrial memory vanishing by the next generation.
To be continued…