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.
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.
