Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 49.

Give Me the Hook or the Ovation
 
I drove to the Masonic Heritage Center for the Grand Opening. It was June 24, 2016, and a gust of hot air greeted us as I opened the driver’s door in the new parking lot. I had envisioned this day for two years, wanting to share it with my children and parents. Now, it was just my husband and Paul Jacob Roberts. I had requested that my folks and son stay home because of the heat and possible lack of seating.
 
We entered the Minnesota Masonic Home where Andrew quickly located his lodge, joining fellow lodge members to march in the processional. Paul and I wound our way through the crowds and I felt a hand grab my shoulder – it was the Grand Master of Minnesota, Bob Darling. “Here she is!” he exclaimed, “The woman who made it all possible!” and then he kissed me on the cheek. I smiled, gave him a hug, and introduced Paul Jacob Roberts. The Grand Master really doesn’t know what’s happening to me, I thought. That made me feel a little better.
Officers and Grand Master from the Grand Lodge of Minnesota during the procession for the opening of the Minnesota Masonic Heritage Center.
My husband Andrew Barrett, and officers from Helios Lodge of Cambridge, Minnesota during the processional for the Grand Opening of the Minnesota Masonic Heritage Center.
The opening of the Minnesota Masonic Heritage center on June 24, 2016.
When we were almost to the door, the CEO passed by and I took the opportunity to introduce him to Paul. I was curious to get Paul’s impression of the man. The final “nice to meet you” handshake reminded me of the moment from “It’s a Wonderful Life” when George Bailey shakes Mr. Potter’s hand; with a look of distaste, George wipes his hand on his suit coat as if to get the feel of Potter off of him. A similar moment occurred after Paul let go of the CEO’s hand and I realized that he felt it too. With an awkward “Well, enjoy the facility” the CEO dismissed us.
 
We left the Masonic Home and went to wait with a small group of women in the parking lot, including the Minnesota Masonic Charities staff and the museum team. Only a small canopy had been set up for the event to shade the elderly, but there obviously weren’t enough chairs. This puzzled me as I thought of all the Eldercare residents with fraternal ties. It was quite a small gathering and I realized that it was almost all Masonic couples – not the general public. I pondered why and was curious as to the reason why the Grand Opening had been to NOT been publicly advertised. Why wasn’t it televised as had been discussed for months?
 
The procession began and I watched the men dressed in full Masonic regalia slowly process to the main entrance – fully lit by the hot sun in the afternoon. It was a long ceremony, especially the speech given by the CEO and that given by A&P Construction. A&P noted that they still accomplished their goal even though the entire scope of the project had undergone significant changes. I knew that we were up to group number 44 for change orders when I last attended an OAC (Owner/Architect/Contractor) meeting that spring, but I had no idea of what the final percentage was; how much had this building really cost?
 
The speeches ended and the crowd was invited into the building. I was looking forward to answering questions as a member of the staff about the theatre space and scenery acquisition.
Grand opening of the Minnesota Masonic Heritage Center in the theatre. The three blank vertical spaces were intended to have hand painted murals. I had designed multiple compositions during fall 2014, including the personification of Faith, Hope, and Charity.
The theatre at the Minnesota Masonic Heritage Center. During fall 2015, I was concerned that the carpet would appear “orange” when Nelson Design reduced the scale of the pattern. The pattern included colors that matched the seating and grand drapery colors, with a little gold highlighting the shapes.
My view of the theatre from the balcony. Notice the area in front of the stage without seating that is used for degree work. I had brought this up in early architecture meetings as the original design had not included this crucial component for degree productions. The first few rows of seating are now removable to accommodate Scottish Rite degrees.
The theatre at the Minnesota Masonic Heritage Center. The light walls on either side of the proscenium opening were to accentuate the complex had-painted murals on each side of the building. When the final colors were selected, I was concerned that the cream both here and in the lodge room would appear “white.”
 
As I walked down the house left theatre aisle, I spotted the general director. That’s odd, I thought, he should be in the banquet area with his new assistant – Lauren Ide. He looked at me and then turned to the crowd to ask if anyone had questions about the theatre. What?!?
 
I then got his attention and said, “I’m here to work. It just took me a while to get into the building.”
 
“Oh, That’s okay. You don’t need to be here, I’ll answer questions about the space.”
 
I stopped dead in my tracks. He had been the one who placed me and my painting assistant in this space, as “it was too big for a single person.” My assistant was to have been Annie Henley, but she had to cancel at the last minute. “It’s not a problem,” I responded, “I completely planned on working today.”
 
“No,” he said, “I got it.” He smiled and turned away. Oh, so it’s like that, is it?
 
I turned to leave the space and encountered a look of fury on my husband’s face. “Don’t let them do this to you!” he whispered to me, “Stand your ground!”
 
I sighed and shrugged my shoulders, attempting a smile. “Why, not?” I asked, “I am obviously not wanted here and don’t even have a name tag. No one will know who I am or even think of me as staff without one.” In the lobby, I saw the executive administrative assistant and asked if she had name tag for me too, as I had been scheduled to staff the theatre? She looked flustered and said, “Oh no. We are just using ones we already have– we didn’t make any new ones for this.” Not make any name tags for the staff who is greeting the public at the opening of a 30 million dollar building? How odd, especially since each name tag had the new logo.
 
I have lived much of my life thinking of the line from “On Golden Pond:” “Sometimes you have to look hard at a person and remember he’s doing the best he can. He’s just trying to find his way, just like you.” In hindsight, that philosophy made me an easy target for both the general director and CEO. It would take a lot for me to actually ascribe malice to their actions or call them on it.
 
The Grand Opening of the building was the beginning of my own end. I was purposefully being excluded, effectively silenced, and erased so that no one would notice when I was gone or ask questions. Unfortunately, Paul was there to witness every interaction and uncomfortable exchange. I was mortified. It is one thing to be treated horrendously by others, but it is an entirely something else to have both your spouse and a good friend be witness to it.
 
I desperately just wanted to go home, curl up into a ball, and cry until the next day from the sheer sense of betrayal. However, I am a fighter and was proud of my contributions to the center to date, so I grabbed my husband’s hand, smiled up at him and said, “Let’s go find some friends and look at my painting!”
 
 
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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