Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 26.

Unloading the Truck
 
We first unloaded the trailer; packing the first storage unit with several large-scale flats, boxes of hand props, five-gallon buckets of whiting, folded floor cloths, the painted cyclorama, a large wooden track for the five small vision drops, stage weights, and a variety of other theatrical artifacts. These items all had to be unloaded in order to reach the wooden battens as they needed to get paired up with the appropriate rolled drops. Due to the late start, it soon became lunchtime.
 
At lunch, I again discussed the necessary process with the general director. Again, I explained that we really needed a four people to unload the battens and tubes, as I needed to supervise where each item would be placed within the storage units. The general director explained that he would step in and be the fourth individual as it was apparent that no one else from Ready Labor was available. It was going to be difficult task to unload both trucks and I once again wondered why they hadn’t asked a crew of Masons to show up.
 
We had been planned for this to be a big public relations event; one more thing that would keep the Minnesota Masonic Heritage Center on the public’s radar as they anticipated the opening. The Masonic Charities’ Director of Communications and our advertising firm were adamant that this opportunity was crucial to draw positive attention. Our next opportunity would be the unrolling of drops on the stage and beginning the restoration. Yet there was no one there and I wondered whether it was because of the individuals from Ready Labor.
 
During lunch, I called my husband, explaining that it would be a long day to arrange for childcare that evening. I still suggested that he come down to meet Ty and Amanda from BellaTex, LLC, as I had spoke so highly of them and their company during the past three weeks.
 
In Fort Scott, I had carefully organized and packed the truck based on the order of future restoration. The last drops to be pulled for restoration were placed in the center of each unit. This allowed us to pull out those on each side, slowly working our way toward the center. As each tube was loaded into the storage unit, two of the four people carrying the unit would break off and go within each unit to help convey the tub along its path.
Unfortunately, during lunch the general director explained that we would be restoring the cathedral scene first as a member was planning a September wedding. This meant that my order of unloading the tubes wouldn’t work and I had to scramble. Initially, the cathedral scene was going to be restored in the second phase of the work and was currently slotted closer to the center of the storage unit. I quickly drew a diagram, labeling each storage unit row with a letter and number – creating a grid so that my crew would know where to place each tube as I shouted out the location. I would shout “A1” or “B5” and each rolled drop would be placed that space.
 
We returned to the storage unit after lunch and started the slow process of unloading the tubes. Getting the tubes out was difficult at best and I realized that the drops were going to be damaged if this type of handling continued throughout the afternoon. Someone had to get in the truck and I looked at my options.
 
No one was going to hop up into the truck due to their size. The one worker who was physically able to do this task was also the only one who had the strength to pull to tub, so I climbed into the truck. My task would be to lift each tube and shove it out the pack, just enough for the one man to grab. He would pull and as the tube slid out of the truck, I would refer to my list and shout out the number. So much for me just supervising…
My husband showed up as we were just getting the second tube out of the truck; it was close to 1:30PM. When he saw me in the truck, his expression confirmed what I already knew –this was going to take awhile. “Can I switch out with you and help?” he asked me. But before I could respond, the general director said,” No, Andrew, you’re not covered by insurance. The Ready Labor guys come with insurance.”
So my only replacement went over to visit with Ty and Amanda while we unloaded the drops.
By the fourth tube, I felt the “pop” in my lower spine, that something had just happened to my lower back. The lifting up of each tube and shoving 100 pounds forward was too much for my 5′ 1½” frame. At this point, I felt like flinging myself onto the top of the tubes, curling up in a ball, and crying. Looking at the crew, I realized that the only person who could do my job was my husband- and he had already been told that he couldn’t help.
 
I had worked so hard to carefully transport the drops, I was damned if I was going to let the general director and his Ready Labor crew damage them now. This was where I made a mistake, I put the handling of the drops ahead of my own safety. I continued to unload the truck, shouting where each tube should go.
 
To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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