In 1912, Thomas G. Moses wrote,
“New York studios set in a new theatre in Philadelphia, the Globe.” He meant
that Sosman & Landis painted scenery for a New York Studios’ project, one
that was delivered to the Globe Theatre in Philadelphia. New York Studios was
the eastern affiliate of Sosman & Landis, founded and run by a one-time
employee David H. Hunt. Hunt was a theatrical manager, as well as scenic studio
founder. In the 1890s he convinced Sosman and Landis to establish the
theatrical management firm of Sosman, Landis & Hunt. Later in 1910, Hunt convinced Sosman to
invest in New York Studios, run by Hunt and his second wife, Adelaide.
New York Studios stamp noting home and Chicago office.
Julius Cahn’s Official Theatrical
Guide listed the Globe as a vaudeville theatre. With a seating capacity of 720,
the venue was managed by Chas. Rappaport. To place the Globe within the context
of the 1912 Philadelphia theatre scene, the city boasted 289 theaters at the
time with a drawing population of 2,000,000. Located at 5901 Market Street, the
Globe Theatre opened in 1910.
I was intrigued that Moses
mentioned creating scenery for New York Studios that was ultimately delivered
to the Globe Theatre in Philadelphia. This was certainly not the first or last
time that Sosman & Landis provided scenery for a New York Studios project. Sosman
& Landis worked in conjunction with New York Studios on many projects, but
seldom were mentioned in a newspaper article at the same time.
Interestingly, both studios were
mentioned in the same article in the “Star-Gazette” on March 4, 1913 (Elmira,
New York). The newspaper article was about the W. P. Murphy’ new theater in Bath,
New York:
“THURSDAY NIGHT
First production will be local
talent minstrels, a testimonial to Bath man who promoted playhouse.
Bath, March 4 – (Special)- The Liberty
Minstrels, a premiere aggregation of Bath talent, will hold the boards at the
Murphy theater, Thursday evening; the production is under the direction of J.
W. Lewis and is given as a testimonial benefit to the builder and owner of the
theater, W. P. Murphy.
The benefit is designed as a
means of expression on the part of the local public of its appreciation of Mr.
Murphy’s efforts to supply the village a long needed modern playhouse as well
as in a measure to reimburse him for the heavy expense he has incurred in building
and equipping the house. Already every seat has been sold and the demand may be
that the minstrels be repeated a second night.
The house is one of the finest
to be found in any village of this size anywhere in the Southern Tier. It
stands at the rear of the former site of the Nichols House, the once famous
hostelry, facing Pulteney Square in the central part of the village. Entrance
is gained from Steuben street through a long arcade or foyer, off from which
are a box office, telephone booths and cloak room. At the rear of the house
near the entrance is a smoking room. The auditorium is 50 feet in length by 40
feet width. The floor slopes, dropping about five feet from the rear to the
orchestra circle. Surrounding three sides of the auditorium is a horseshoe
gallery; the house is carpeted with rubber linoleum and supplied with opera
chairs on both orchestra floor and galleries, the seating capacity being about
825 persons.
The stage has an opening of 45
feet width, 17 feet height and 30 feet depth. It has an ample scene loft and is
supplied with elaborate scenery, which is supplied by Sosman & Landis of
Chicago. Beneath the stage is a musician’s waiting room, a property room, four
dressing rooms, supplied with baths; above the stage are four other reserve
dressing rooms for use when attractions with large casts play the house. The
building is equipped with gas and electricity; has seven exits, is a fireproof
building and heated by steam. The drop curtain, depicting a scene from Venice
is from the New York Studio Company.
Charles H. Thomas will be
manager and booking agent for the house and already many leading attractions
are promised. As Bath has been without a theatre otherwise than the motion
pictures for some time, undoubtedly the new theater will prove very popular”
(Star-Gazette, Elmira, New York, 4 March 1913, page 9).
The
Bloomington Scottish Rite membership dramatically increased during the second
decade of the twentieth century. Within less than a decade, a larger facility
and grander stage were need for degree work. Sosman & Landis first
delivered scenery to the Bloomington Scottish Rite in 1911 and 1912. They would not deliver any scenery for the
1921 stage. The Director of Works, Delmar D. Darrah ordered a second set of
scenery from his good friend John Becker of J. C. Becker & Bro. in Chicago.
Darrah, an active member of the Supreme Council, was the author and director of
the Passion Play. He also was the Director of Works and managed many of the
production that won fame in the local Scottish Rite Consistory.
In 1917, a new building was proposed and land purchased at East
and Mulberry taking place by May 1918. Necessary building contracts were
authorized during November 1919, with the building being completed by 1921. The new Scottish Rite Temple was
located at the north edge of the Bloomington’s business district, at 110 E.
Mulberry Street. The
first Fall Reunion in 1922 included 353 candidates. Owned by the Bloomington Scottish
Rite Consistory, the building soon became host to a public theatrical event – “The
American Passion Play.”
The Bloomington Scottish RiteThe stage of the Bloomington Scottish Rite.Auditorium of the Bloomington Scottish Rite.
I first learned
of Bloomington’s Passion Play while cataloguing the Great Western Stage
Equipment Co. collection as part of an Undergraduate Research Opportunities
Program (UROP) grant in 1989. The collection included a 1928 Bloomington
Passion Play program. Beginning in 1923, the Bloomington Scottish Rite Masons
presented “The American Passion Play,”
an elaborate annual production that was over three hours in length, with
fifty-six scenes and up to two hundred and thirty actors.
The Passion Play program, 1928
The success and popularity of the production was immediate
for both the Fraternity and local community. On April 18, 1927, “The
Panatgraph” reported, “Leon M. Abbott, Sovereign Grand Commander of the Supreme
Council, Praises the Passion Play” (Bloomington, Illinoi, page 3). Abbott
traveled 1500 miles expressly for the purpose of attending the Passion Play. He also explained to the audience that about
five years ago it had been his privilege to see the original Passion Play as
portrayed by the inhabitants of the little Bavarian city known as Oberammergau.
The Oberammergau Passion Play had been performed since 1634. A staging of
Jesus’ passion, covering the short period of his life from his first visit to
Jerusalem and leading to the crucifixion, the play was the result of town
residents vowing in 1633 that if God spared them from the Bubonic plague they
would produce the play thereafter for all time. Of Bloomington’s American
Passion Play, Abbot stated, “Today, [Darrah] took me back to that place in the
little Bavarian village with a population of 19,000, some 5000 of which take
part in the Passion Play. It was a wonderful experience.”
Some of the scenery by J. C. Becker & Bro,. for the Passion Play.Some of the scenery by J. C. Becker & Bro,. for the Passion Play.Some of the scenery by J. C. Becker & Bro,. for the Passion Play.
The article continued, “Highest officials in Masonry with
other active members of the Supreme Council from Eastern States and from
Illinois, witnessed Bloomington’s gigantic production Sunday evening when more
than one thousand Consistory men and their wives assembled to honor the
distinguished guests – Honor guests lauded work of Delmar D. Darrah, active
member of the Supreme Council and Director of Work in Bloomington Consistory
and also the Consistory Players.” Abbot as quoted complimenting Darrah, saying,
“It almost staggers belief that one man can be responsible for the intricate
preparation of all that necessary to present the work which we witnessed this
afternoon.” A photograph was included with the article, picturing (left to
right) Delmar D. Darrah of Bloomington, C. R. Spillman of Chicago, Leon M.
Abbott of Boston, S. O. Spring of Chicago, and Leroy Goddard of Chicago.
(left to right) Delmar D. Darrah of Bloomington, C. R. Spillman of Chicago, Leon M. Abbott of Boston, S. O. Spring of Chicago, and Leroy Goddard of Chicago.
For Bloomington’s Scottish Rite stage and for Darrah’s Passion
Play, J. C. Becker & Bro. provided all of the scenery instead of Sosman
& Landis.
Why Becker and not Sosman & Landis?
The switch is because John Becker cultivated a close friendship
with Darrah. This connection would give
Becker an advantage for many 1920s Scottish Rite projects throughout the
Northern Masonic Jurisdiction, especially those in Illinois. After becoming a Mason in 1912 (Maywood Lodge 869 F&AM), Becker also became
a 33rd degree Scottish Rite Mason [the final and honorary degree of
the AASR]. He was a life member in the Valley of Bloomington and also active in
Chicago. Becker joined Chicago’s Medinah Temple Shrine and was a past watchman of White Shrine of
Jerusalem. These Masonic connections were a necessity when bidding on Masonic
scenery contracts for both the Northern and Southern Jurisdiction of the
Ancient and Accepted Scottish Rite of Freemasonry.
Becker’s approach is exactly the same of Joseph S. Sosman.
Sosman’s connections were how Sosman & Landis secured the majority of scenery
contracts for the Southern Jurisdiction. Sosman enjoyed close friendships with
key Southern Jurisdiction representatives, especially Bestor G. Brown of
Kansas. Brown was the Past Grand Master
of Kansas who became head of many other Masonic Orders, as well as being the
western representative of M. C. Lilley in Kansas City. M. C. Lilley was a
massive fraternal regalia and paraphernalia manufacturer who supplied many
fraternal organizations with necessary products that ranged from paper
documents and ritual books to lodge room furniture and costumes. M. C. Lilley,
represented by Brown, also outfitted Scottish Rite theaters. Although M. C.
Lilley did not manufacture any stage scenery, lighting systems or stage
machinery, they subcontracted the work to firms such as Sosman & Landis. Both
Brown and Sosman were prominent Freemasons, the key to their success within the
Fraternity and theatre industry.
From the mid-1890s until the passing of Sosman in 1915 and
Brown in 1917, M. C. Lilley had a close relationship with Sosman & Landis,
almost solely using their services for Masonic theater contracts. This rapidly
changed after the passing of both Sosman & Brown, leaving Sosman &
Landis without a close fraternal connection. Furthermore, the company’s second
president, Thomas G. Moses, did not become a Mason until the mid-1920s. By this
point it was too late. Moses was well known and his work well respected, but he
could not compete with other scenic studios represented by a Mason, such as J.
C. Becke & Bro.
So…by 1915, Sosman & Landis does not have a Mason
representing the firm, however, both of their major competitors do – J. C.
Becker & Bros. and Toomey & Volland.
Therefore, Becker Bros. and Toomey & Volland rapidly gain ground
during the second decade of the twentieth century, eventually eclipsing Sosman
& Landis by 1920. J. C. Becker &
Bro. began to secure many of the contracts for Illinois, Indiana and Iowa. With
the backing of key Scottish Rite figures, such as Darrah, they began to
increase their contacts across the country.
The strength of the Bloomington Scottish Rite could not
survive declining membership and aging buildings. In 20, the old Bloomington Scottish Rite became
the Bloomington Center for the Performing Arts. In an amazing turn of fate, the
Bloomington Scottish Rite moved back to their first home. The original
Bloomington Masonic Temple is once again the home and meeting place for the
Valley of Bloomington. They went full circle, but lost so much along the way.
The 1912 Bloomington Masonic Temple continues to be the meeting place not only
for the Scottish Rite, but also other Blue Lodges, the York Rite, Order of
DeMolay and Rainbow Girls.
Stage where the Bloomington Scottish Rite now meets.
Today’s
post continues with the story of New York Studios for one more post. In 1912, the firm brought suit against the
owners of the Colonial Theatre. In court they tried to recovered money that was
due from F. & H. Schweppe for a “Moonlight Olio.”
A moonlight effect drop at the Scottish Rite in Deadwood, South Dakota.Backside of drop for the moonlight effect.
I have read many tales of honest and hard-working people who were not paid for their work. They all seem to share a similar story. Only twice, have I had the misfortune of being “stiffed;” pretty good for being in the business more than thirty years. However, for me that was twice too many. I think that the first time was the hardest as I didn’t see it coming. It concerned painted ceremonial settings for the Ancient & Arabic Order of the Nobles of the Mystic Shrine – go figure.
While
researching the life and times of Thomas G. Moses, I have repeatedly read the
letters of correspondence between scenic studios and various Masonic
organizations, begging for money owed from scenery that was already designed or
installed. In many ways, I feel quite fortunate with only suffering from two
dishonest clients.
Not being
paid from a Masonic organization is similar to not being paid from a religious
institution; they know better. I always
think back to Thomas G. Moses quote, “My experience with Church
Committees, of all denominations was such that I almost promised myself never
to enter another Church. I found a lot
of dishonest men that were pillars of the church and naturally I looked upon
them as good Christians, and their word should have been as good as their
bond.”
There is an interesting dance that often occurs with a client, or organization, owes money for completed work and has no intention of paying. After a series of delays, a lame excuse is often presented as justifying nonpayment. It really doesn’t matter to the client at this point, as the vendor has already delivered everything promised; they are simply waiting for compensation. So the client just sits, gambling in a way, and hoping that no legal action will ensue. The person owed the money contemplates whether the amount is large enough to incur additional legal fees. In 1912, New York Studios decided the amount was worth it. Their particular story had to do with a client paying for scenery that was not returned in 1911.
On March
18, 1912, the “Star-Gazette” reported “The New York Studio, painters of stage
scenery of all sorts has begun action against Schweppe Brothers, owners of the
Colonial Theatre on Main Street to recover $90, claimed to be due on a
“moonlight olio drop” which was furnished that theater. It is alleged that
settlement made with Schweppes at a certain figure providing the local firm
would return the drop. The studio says the drop has not been returned” (Elmira,
New York, page 3). In other words they rented a drop and decided to keep it.
The first time round they lost the case in city court.
On
September 4, 1912, the “Star-Gazette” reported “The New York Studios Company,
through their attorneys, Baldwin & Allison, have appealed from a jury’s
verdict in city court which was rendered in favor of Fred and Henry Schweppe,
owners of the Colonial Theatre block. The action has been tried in a city court
to recover $90, which the New York Studios Company alleged was due them for a ‘Moonlight
Olio.’ The jury held that the Schweppe Brothers were justified in their
position. The jury rendered that verdict on July 25” (Elmira, New York, page
11).
Now there is the basic question here: “What is a Moonlight Olio?” There is an ongoing discussion about “olio, the machine” versus “olio, the scene.” In this particular case it is painted scenery, more specifically a backdrop that depicts a moonlight scene or has a moonlight effect. Olio likely refers to the studio design label. Examples of “olio” drop compositions can be found in the Performing Arts archives at the University of Minnesota. The Twin City Scenic Co. collection has an entire box of olio designs, with each label using an “O” for olio, for example, O-89. Olio drops were musical numbers placed between the scenes of a play/melodrama and were independent of the main storyline. Back to the court case…
By 1915,
The “Star-Gazette” published the ongoing 4-year saga of the moonlight olio,
reporting, “The action grows out of the furnishing scenery for the Colonial.
The original claims were settled at 75 cents on the dollar and in the
settlement the Messrs. Schweppe were to return a moonlight drop, which is one
of the canvas painted drops which make the background of the stage setting. The
studios had furnished two olios and it is claimed that the wrong one was returned.
From this incident, four years ago, grows the present action for $90. It was
tried once in City Court and Messrs. Schweppe were successful. The studios
appealed” (1 June 1915, page 7). On June 2, 1915, the verdict was published –
$90 was awarded to the New York Studios. The “Star-Gazette” commented, “The $90
is the full amount of the claim but it is not so much the money as a vindication
of lawyers that was being fought for” (1, June 1915, page 7).
The $90 fee
for the Moonlight Olio is the equivalent of $2,380.44 today. Although this was
not a great amount of money for a scenic studio to lose in product, they had to
fight this battle in a very visible arena. Their legal actions sent a signal to
other theaters and clients that New York Studios would not back down; they would
collect money owed, regardless of the amount.
In 1912, Thomas G. Moses wrote,
“Did a number of garden wings for Proctors, N.Y. for the New York Studios, and
some drops for Washington, D.C.”
What is fascinating about Moses’ entry is his mention of
painted garden wings for a New York Studios project. There is an extant wood
wing attributed to New York Studios at the Thalian Hall in Wilmington, NC, also
by New York Studios.
Thalian Hall, Wilmington, North Carolina.Extant wood wing by New York Studios for Thalian Hall.New York Studios stencil on back of wood wing at Thalian Hall.
Last spring, I visited Thalian Hall and gave a presentation on historic stage scenery. Russell Smith painted a drop curtain for Thalian Hall in 1858; they still have it. Like many theaters, additional scenic pieces were added over the years, including some pieces from New York Studios. During my visit, executive director Tony Rivenbark pointed out a small painted wing that was tucked away. The wood wing at Thalian Hall was the last remnant of a pair, once part of a set that masked the side stages for exterior scenes. On the back of the folding wing was a New York Studios Stencil, the first I had ever encountered. Again, New York Studios was the eastern affiliate of Sosman & Landis of Chicago, started by David Hunt during the first decade of the twentieth century. New York Studios was incorporated on April 8, 1910, and lasted until its dissolution on Dec. 15, 1939.
Keep in mind that Sosman & Landis had regional offices
throughout the country, including one in New York City before New York Studios
was established in 1910. An article in
“The Times” even mentioned Sosman & Landis’ presence in New York describing,
“the well known New York and Chicago artists, Sosman & Landis” (The Times,
Streator, Illinois, 14 Sept. 1910, page 5). Regardless of their east coast
office, Sosman & Landis treasurer and secretary, David H. Hunt, proposed a
new business venture. Instead of maintaining a regional office, he would
establish an eastern affiliate. New York Studios stockholders included David H.
Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle.
Painted wings for both large and small stages were the bread
and butter of our scenic studios at this time. Their construction necessitated
the careful collaboration between both carpenters and scenic artists. Whether
they accompanied shutters, roll drops or fly drops, these painted sidepieces
were necessary to complete the scenic illusion while masking backstage areas.
These sidepieces were supported with grooves, stage jacks and other hardware.
Wood setting for the St. Paul C.S.P.S. stage that uses two sets of wood wings.Upper grooves helped hold hold wings in place.
Painted wings are still found at some historic venues, but seldom used. They often become the chipped sugar dish in china set that is missing its creamer. When only one wing is left, how can it be used for a production? It can’t, so it simply sits backstage in a corner, or tucked away somewhere. Such was the case at Thalian Hall. After almost all other scenery left the building, this one wood wing remained. The New York Studios wood wing may possibly be the last remnant of New York Studio, after the firm produced thousands.
Wings were just one element on the historic stage, and
integral part of the scenic illusion. To simplify what was on stage in a
historic theater, stock scenery collections consisted of backings (roll
drop/fly drop/shutter), sidepieces (wings/tormentors), top pieces
(borders/teasers) and set pieces (rocks, trees, balustrades, etc.). Keep in
mind that stage terminology shifts over time. The important thing to remember
is that the painted sides and set pieces are often the first things to go when
a venue was sold, renovated or repurposed. A painted backdrop may remain tucked
away when almost every other scenic piece has disappeared. A painted wing is
often the earliest form of collateral damage while a stage is being renovated. Hanging
scenery often enjoys a slightly longer life span than its counterparts, maybe
because it is more difficult to remove.
The greatest amount of flat stock (wings, set pieces, profiles,
etc.) is still found at Scottish Rite theaters, although those pieces are
rapidly disappearing too. Why are there still thousands of extant pieces in
Scottish Rite theaters? The main reason
is that they are too hard to reach and the average age of Masonic stagehands is
now well past retirement age. Keep in mind that the design of many Masonic
stages incorporated a lofted storage area opposite of the fly rail. Today, the
idea of climbing up a wooden ladder, finding the correct flat, removing a guardrail,
and lowering it to the stage is often a deterrent for many Masonic stage crews.
On the bright side, the lack of use has preserved many pieces. They remained
quietly waiting in the wings to once again accompany the remainder of a painted
scene.
In 1912, Thomas G. Moses wrote,
“Sosman left for the south on a vacation.
My work doubles. We are doing a
lot of work for the New York Studios – not much profit in it for us, as Hunt
seems to think we should be satisfied with a small profit. I have made a number of designs for him which
I am pleased to do as long as we get the work.”
David H. Hunt pictured in the “Detroit Free Press,” 21 May 1903, page 12.
Hunt was a long-term employee at
Sosman & Landis, founder of the theatrical management firm Sosman, Landis
& Hunt (est. 1894), and founder of New York Studios (est. 1910). New York
Studios was considered an eastern affiliate of Sosman & Landis. In 1905,
Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the
talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the
contract for $3,500.00.” Moses did not get along well with David H. Hunt of New
Yorks Studios and periodically mentions the discord in his diary.
By 1910, tensions were high between Moses and Hunt,
escalating when Joseph S. Sosman leaves on a 15-week European tour. At the
time, both Moses and Hunt were left in charge of the studio, with shops in both
Chicago and New York. Hunt was the company secretary and treasure, whereas
Moses was responsible for the design, construction and installation of all
projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and
expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and
assessed the studio’s state of affairs, Moses wrote, “I heard some reports as
to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled… I arrived June
25th. Sosman had his doubts as to my
coming back.” It was around this time that Hunt officially established New York
Studios. Smart move, as it was beginning to appear that Chicago was not big
enough for both Moses and Hunt.
The establishment of New York
Studios is the beginning to the eventual demise of Sosman & Landis. Sosman
steps out of the daily running of the company, leaving it to others, while
investing in new business ventures such as New York Studios, managed by friend
and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was
not. Hunt was also working on many other business endeavors that distracted him
from solely focusing on any one company, whether it was Sosman & Landis,
Sosman, Landis & Hunt, or New York Studios projects. Based on Moses’ description of Hunt and
newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid
scheme, hoping for maximum returns with minimal investments; it is all based on
the underlings beneath him doing the work.
Over the years, Hunt had
remained a thorn in Moses’ side for many reasons, including his poor treatment
of good artists; prompting many to leave the studio. The exodus of scenic
artists from Sosman & Landis included Moses’ good friend, John H. Young.
Young went on to dominate the Broadway scene as a well-known designer.
Hunt had started with Sosman
& Landis during the early 1890s, quickly worming his way into both Sosman
& Landis’ confidence. Although I have yet to find an official start date
for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition
projects. By 1894, Hunt convinced Sosman & Landis to establish, the
theatrical management firm of Sosman, Landis & Hunt. This was a secondary
business venture; a company that leased theaters and founded touring companies
in Cincinnati, Indianapolis and Detroit.
The firm kept Hunt busy as the primary manager for the endeavor, yet the
Sosman & Landis studio staff from Chicago completed much of the necessary
work. Moses’ diaries suggest that Hunt did not treat the artistic staff working
for Sosman, Landis & Hunt well; scenic artists were swapped and directed to
various projects like pawns on a chessboard, ready to be sacrificed at any
point. Throughout this period Hunt had remained on the administrative end of
the studio, always finding the public spotlight to share his great wisdom on a
subject.
By 1910, Hunt also talked Sosman into investing in a new
business venture – New York Studios. That year, Moses wrote, “Hunt had started
a New York studio in New York City and he expected us to do a great deal of
work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the
President, Edward A. Morange as the vice president, and David H. Hunt, as the
Treasurer. The company’s starting capital was $40,000, and listed the following
directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices
located at 325 W 29th Street,
New York. Business listings noted that theatrical equipment was the primary product produced by the company.
Now there were two scenic studios to consider, and only one Moses. In the 1919
Adelaide A. Hunt was still listed as president of New York Studios, with Edward
Morange as Vice-President and David H. Hunt as treasurer, still supplying
theatrical goods. Office locations varied from 29th to 39th
to 95th Streets. Many scenic artists worked for New York
Studios including John H. Young, William F. Hamilton, Victor Higgins, William
Smart, Art Rider, and Al Dutheridge to name a few.
1927 New York Studios advertisement in the publication, “Scenic Artist.”
New Yorks Studios was listed as the eastern affiliate of
Sosman & Landis, whereas Sosman & Landis were listed at the western
offices of New York Studios. Studio stamps on the back of some designs at the
University of Minnesota’s Performing Arts scenery collection list the New York
Studios “Home Office” at 328 West 39th St. N.Y. There are other New
York Studio designs that link designs to their
“Chicago Office.” The Chicago Office for New York Studios was located at
1022 Consumers Building, separate from the main offices of Sosman & Landis
on Clinton St.
Sosman & Landis Studio and New York Studios were two
very separate entities. Although they shared work and scenic artists, Moses
hints that New York Studios always got more out of the relationship than Sosman
& Landis, always taking advantage of the situation.
Studio stamp on the back of a design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.New York Studios stencil on the back of a folding wood wing purchased by Thalian Hall, Wilmington, NC.
Between 1910 and 1912, Hunt and
New York Studios were repeatedly mentioned in several newspaper articles across
the country. One particular article concerned an electrical apparatus that
enabled one man to handle sixty-five drops. Hunt was part of a group
interviewed about the innovation; again his being in the right place at the
right time. Hunt was chumming around with Martin Beck (manager of the Orpheum
Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New
York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social
networking and always falling in with the right crowd.
In regard to Hunt keeping company
with Beck, Carson and Vincent in 1910, I am including a section of the group
interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star”
quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager
of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical
appliance which makes it possible for one man to handle sixty-five drops. It
operates everything from the stage curtain to the back, gives absolute fire
protection and does the work of an average of twenty stagehands. One man can
operate it. It looks good to me, and if further tests prove it as successful as
the indications are here we will install in all the Orpheum Theatres. ‘The
apparatus for handling drops, consisting of ropes and counterweights, has been
the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum
house. ‘Mr. Bailey has perfected, the first invention, bringing the stage
mechanism up to date. It has been a field neglected by inventors.’
By 1911, newspapers reported,
“Theatrical men and others in Denver have organized a $500,000 corporation to
manufacture a mechanical device, which, it claimed, will reduce the number of
stage hands needed in a theatre by three-fourths, at least. The new corporation
is called the Bailey Fly Rail Machine Company. It is incorporated under the
laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the
inventor of the device. He worked on it several years before he announced that
it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W.
Considine and other vaudeville managers, met in Denver and saw a demonstration
of the apparatus. They appeared to be highly pleased with it. The names of A.
C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft
appear at the prime movers in the matter of incorporation. Mr. Bancroft is an
attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,”
18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem
to have vanished into thin air, as did Hunt’s association with the endeavor.
What remains significant in
terms of theatre history is that Hunt was there, part of the vaudeville
managers who gathered to see Bailey’s invention. He was certainly a mover and
shaker. I will continue with David Hunt’s
story tomorrow.
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.
