Tales from a Scenic Artist and Scholar. Part 115 – A Women Erased From Masonic History

I recently had lunch with a local Mason and one of the first things he asked was, “So how does it feel to be erased?” How do you respond to a question like that? Unfortunately, it was not only my work that was erased at the Minnesota Masonic Heritage Center, but also the work of others who worked with me. There were four gentlemen who made everything possible in Fort Scott and their contribution needs to be recognized. Without them, the project would have been almost impossible. In this installment, I want to acknowledge their participation in the project and the company that they worked for during the scenery removal and transportation of the Fort Scott scenery to the Minnesota Masonic Heritage Center storage facility. The onsite crew included Brandon Fischer, Todd Whately, Mark Wilson, and Austin Gray. The team was assembled by Ty Prewitt, founder and owner, of BellaTex, LLC. Here is their link: http://bellatex.com/

In thinking back to my involvement in the identification, acquisition, and relocation of the Fort Scott scenery, it marks a threshold in my career. This particular Scottish Rite scenery collection was more than just another project for me; it was significant in terms of all future work and research. A botched restoration by others has destroyed the physical significance of this artifact, but the design and creation process will live on as a context for other fraternal heritage discussions. Sometimes monumental discoveries are not so much about the final display of an object, but its creation and initial handling.

The timing of this project was ideal as working with the BellaTex rigging crew was a welcome break from those at Masonic Charities and the Minnesota Masonic Heritage Center. Over the years, I have come to believe that the founder, or the individual in charge of a company, directs the overall tone of the workplace environment. Here is an actual situation where the “trickle down theory” applies. When a company’s employees begin to address the dysfunction of the workplace on a daily basis and question the CEO’s ability to successfully make decisions, it signals a severe problem for the future of any entity. It was a workplace with fear, distrust, and abuse without a common vision or goal. By the time I arrived in Fort Scott, I desperately needed to be around people who both respected and valued their employer. In the back of my mind, I knew that I needed to return to the theatre. It was very apparent that BellaTex’s owner also treated his employees well and with respect. They appreciated him for it and worked very hard to make the project a success.

The conditions in Fort Scott during November 2015 were cold and dirty, just like the drops. The hours were long and there was not access to heat or running water. In the beginning I knew that it could be an unbearable project, especially if the crew didn’t “sync” and work well together. I typically make friends easily and genuinely enjoy getting to know people. This is why I like traveling and meeting new people, exploring new regions during restoration work. It makes everything so much easier when you like and respect the people that your are working with on a daily basis. I have always been fond of my various crews, but the one that Prewitt assembled was something special.

Our project included several steps and complicated procedures. To recap, the project included securing each drop line, removing the weights from each arbor, and lowering each drop to the floor.

Brandon Fischer securing rigging to lower the Fort Scott drop to the stage floor. Photograph by Wendy Waszut-Barrett, 2015.
Lowering Fort Scott scenery for transport. Photograph by Wendy Waszut-Barrett, 2015.
Lowering Fort Scott cut drop for transport. Photograph by Wendy Waszut-Barrett, 2015.

Once the drop was detached from its corresponding pick points, the wooden battens were removed, bundled, labeled, and placed in a pile before transporting to the first floor.

Removing wooden battens from Fort Scott drop. Photograph by Wendy Waszut-Barrett, 2015.
Removing wooden battens from Fort Scott drop. Photograph by Wendy Waszut-Barrett, 2015.
Removing wooden battens from Fort Scott drop. Photograph by Wendy Waszut-Barrett, 2015.
Battens from Fort Scott hell scene. Photograph by Wendy Waszut-Barrett, 2015.

The drop was laid out face down in the second-floor auditorium to remove surface contaminants from the back. It was then flipped over (face up) for the same process.

Removing some contaminants from Fort Scott scenery for transport. Photograph by Wendy Waszut-Barrett, 2015.

Then the drop was temporarily rolled for transport from the second to the first floor as a 25’-0” tube could not fit down the curved staircase. There, it was carefully rolled up on a cardboard tube, encapsulated with lightweight muslin and set aside.

Rolling Fort Scott drop for transport to Minnesota Masonic Heritage Center. Photograph by Wendy Waszut-Barrett, 2015.
Rolled tube wrapped in muslin. Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Repeat this process ninety-four times, using eighty-four tubes. Then we focused on disassembling the massive Pepper’s Ghost unit and packaging many other set pieces and stage props for transport.

Half of disassembled Pepper’s Ghost unit in Fort Scott. Photograph by Wendy Waszut-Barrett, 2015.

Never was there a complaint or any kind of attitude from the crew. We laughed a lot and told stories to make the workday pass by quickly. Our breakfasts, lunches, and dinners were all spent together. The after hours beverages placed on the tailgate of a truck in the hotel parking lots served as happy hour before heading out to dinner. It was a chance to discuss the day’s events and plan tomorrow’s activities. It was the best that could be made of difficult project and we enjoyed each other’s company.

Todd Whatley wearing shirt with same message as sign posted in local Fort Scott bar. Photograph by Wendy Waszut-Barrett, 2015.

For the two years that I worked in Bloomington, I watched productivity cease as soon as the CEO left the building. His SUV would depart and many of the staff would leave shortly thereafter. I repeatedly heard about their fear and resentment for their leader during my time their as Curatorial Director. I frequently wondered what the workplace would be like if the Minnesota Masonic Charities CEO showed the same amount of respect and consideration for his employees as practiced by Prewitt of BellaTex, LLC.

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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