We Must Pass Through Darkness to Reach the Light
The CEO repeatedly asked, “What will it take to get you on staff?” during the first half of 2015 when I was his historical consultant. This question was followed by, “How do you envision your future role at the Minnesota Masonic Heritage Center?” As part of these ongoing discussions, the CEO directed me to create and submit a job description for myself. I already owned a business, Bella Scena, LLC, and this was not an easy decision for me to make. It would necessitate my walking away from a company that had taken years to create and gain a national reputation. The various projects for the Minnesota Masonic Heritage Center had consumed all of my time since August 2014, causing me to temporarily shut down my company until after the June 24, 2016 opening.
On June 1, 2015, I accepted the position as Curatorial Director for the Minnesota Masonic Heritage Center. Both the general director and I reported to the CEO. I was responsible for the collections management and the general director was responsible for facilities management. My duties included acquisitions, collections, and exhibits for the Museum, Theatre, and Library, whereas the general director’s duties included events management, building management and financial management. Although many of my responsibilities could not commence until the facility opened, as salaried staff I continued to function as the sole historical consultant for all of the planning and construction of the complex, including design, painting and scenery restoration.
At this same time, another opportunity appeared on the horizon. I was asked to present a paper on Masonic Theatre scenery in Stockholm as part of the OISTAT (International Organization of Scenographers, Theatre Architects and Technicians) Research Committee conference during June of 2016. The event was titled “An Open Window on Pictorial Performance Design.” (http://www.oistat.org/Item/list.asp?id=1440, being held to celebrate the 250th anniversary of Drottningholm’s Slottsteater with a meeting in Stockholm and Drottningholm dedicated to the legacy of painted scenery.
Rick Boychuk (author of Nobody Looks Up (http://www.counterweightrigging.com/), and I were scheduled to present the unique aspects of Scottish Rite scenery collections across North America. The Fort Scott Scottish Rite scenery at the Minnesota Masonic Heritage Center and the Masonic scenery from Winona, Minnesota were to be my primary focus. I intended this event to be part of a larger campaign to establish national and international connections with other professional organizations for future endeavors at the Minnesota Masonic Heritage Center. After all, my job description specified, “the arranging of loans between institutions.”
Once the conference dates were established, I asked the CEO’s permission to participate in the event. The conference was scheduled from June 10 – 11, 2016, and would not interfere with the intended timeline to either restore or hang the anticipated scenery for opening. I anticipated only leaving for a week after the restored scenery was hung. The CEO happily agreed and suggested that I take even more time as there was little I could do the week before the opening as “everything should be done by that point.” Therefore, we agreed that I would return just in time for the opening of the complex on June 23. For the opening I would be in the theatre with an assistant to answer public questions about the scenery, rigging, equipment, and décor.
As I finalized my itinerary, I emailed the Minnesota Masonic Charities and Minnesota Masonic Heritage Center staff on May 17 to remind them of my upcoming absence: “I will be in Europe from June 9-22, 2016. On June 11, I present a paper on Masonic design and scenery for OISTAT in Stockholm. This is the “Organisation Internationale des Scénographes, Techniciens et Architectes de Théâtre” (“International Organisation of Scenographers, Theatre Architects and Technicians). I was able to extend my stay a few days longer so that I can make connections with other Curatorial Directors specializing in Masonic History, Theatre, and Literature in Europe. This is a great opportunity to internationally promote the Minnesota Masonic Heritage Center as a destination location for scholars.
To date, my post-conference stops include:
1.) The exhibition of La Franc-Maçonnerie (French Masonry), at the Bibliotheque Nationale de France – Paris. This exhibit is only up for two months, so my timing is superb.
2.) The Musée de la Franc-Maçonnerie (French Museum of Freemasonry)
3.) Cesky Krumlov Castle Theatre in the Czech Republic (oldest painted scenery before Drottningholm Castle theatre)
4.) Freemasonry Museum in Linz, Austria (Schloss Rosenau).
Vienna and Budapest are also on the list of potential candidates, but I might not have enough time. I will have my Minnesota Masonic Heritage Center business cards, but would greatly appreciate a letter from the Grand Lodge verifying my position as Curatorial Director at the Minnesota Masonic Heritage Center during my travels. This will help overcome some potential barriers in speaking with museum staff who are masons.”
Three days before my departure, on June 6, I received the following email from the CEO:
“Your note indicates that you will be presenting information on our facilities as MMHC Curatorial Director. Please be advised that your activities at the conference do not come within the scope of your duties as Curatorial Director and will in no way be considered a part of your responsibilities. Your time spent presenting at the conference and subsequent touring is not within the scope of your employment and is purely an activity engaged in at your instance and is not directed by or approved by me on Minnesota Masonic Charities. Your time away from your duties is pursuant to our Paid Time Off policies for employees.”
And that’s when I figured out my entire position had been a scam. My position as Curatorial Director for the Masonic Center was in name only, allowing the CEO to secure my services for an entire year at a 40% discount. All of the pieces fell into place for me as I contemplated his email.
I had never been publicly recognized in my new staff role other than a short internal memo for a few Minnesota Masonic Charities and Minnesota Masonic Home staff members. It had been a struggle to have the OAC (Owner/Architect/Contractor) meeting minutes change my business affiliation from Bella Scena, LLC, to my new employer. The 2016 Minnesota Masonic Charities film at the Grand Lodge breakfast showed me, as “the national expert to restore the scenery,” but didn’t state that I was the center’s Curatorial Director. I had not been allowed to directly hire my painting assistant or library assistant; both hires were listed as working for the general director as “museum interns.” The entire staff had a credit card except me.
On paper, I had worked solely as an historical consultant since the beginning. Only my business cards and the initial job offer gave me the title of “Curatorial Director.” I am certain that the business cards were an oversight as I had asked the Director of Communications to order new ones with my correct title. Before I was on staff, they gave me “Historical Consultant” cards to use with vendors to make it “look official” as they didn’t want me handing out my Bella Scena, LLC, business cards.
I had been hired directly by the CEO without any search, interview, board approval, or public announcement. That is also how the general director was hired too so I thought little of it at the time. The CEO had (and may still have) sole hiring and firing power for everyone on staff without any real oversight or accountability. The crushing realization that I had been played to attain my services at a discount was devastating; forever changing the way that I view Minnesota Masonic Charities, the Minnesota Masonic Home, and Freemasonry in Minnesota.
To be continued…
