A Visit to the Cheyenne Scottish Rite on June 17, 2018
The Scottish Rite Theatre is in the Cheyenne Masonic Temple, located at 1820 Capitol Avenue. This three-story building was initially constructed in 1901 at a cost of $45,000. In 1903, the building was gutted by fire. After receiving $35,000 from the insurance company, the interior was reconstructed. Our guide, Ron, explained that an addition to the building occurred during the 1920s and included the theater.
In 1921, “The Billings Gazette” reported that Wyoming had 1906 thirty-second degree Masons, an increase of 245 members in twelve months. Furthermore, the secretary of Wyoming Consistory No. 1 in Cheyenne reported, “the total resources of all four bodies of the Ancient and Accepted Scottish Rite amount to $189,958.88” (17 Sept 1921, page 8). There were 2,090 members in the Rocky Mountain Lodge of Perfection; 1,961 members in the Albert Pike Chapter of the Knights of Rose Croix; and 1,961 members in the Cheyenne Council of Kadosh No. 1. At the time of the article, a new Scottish Rite Cathedral was being built in Cheyenne. Plans for this new Consistory building had been in the works since 1920, when the “Casper Star-Tribune” reported, “Tentative plans for the cathedral which Wyoming Consistory No. 1, A.A.S.R., is to erect at Capitol Avenue and Twentieth Street, have been approved. They call for a structure of Grecian architecture, with a frontage of 132 feet on Capitol Avenue, which will cost approximately $500,000. Aside from the fact that it will be the largest and finest fraternal society building in Wyoming architecture. Work on the building, it is planned and will begin next fall” (29 May 1920, page 9).
Some of the scenery that is currently on the stage is identified as being delivered to “Scottish Rite Bodies. Masonic Hall. Cheyenne, Wyoming.” This information is stenciled on the back and front of some bottom sandwich battens. The stenciling on the back of some drops confirms the destination of Cheyenne, and is characteristic of standard Sosman & Landis Studio labeling during the first decade of the twentieth century.
That being said, there are three distinct collections when examining the stencil placement, yet two are consistent with Sosman & Landis. The three collections also are not a standard size, as some are much taller and some are much wider. Furthermore, many of the drops were obviously hung in another venue prior to their transport to the current stage. This is confirmed by charcoal markings indicating previous line numbers for another space. Finally, the painted surface of the collection is primarily consistent with the Sosman & Landis installations for current collections in Santa Fe, St. Paul, Winona, Tucson, Ashville, and Grand Forks. What is not consistent with Sosman & Landis labeling in Cheyenne is that for their painted profile pieces, meaning the painted flats accompanying many of the painted scenes are not identified with stencils. The ones in Cheyenne are not labeled at all beyond a few pencil markings. The design and construction is also not characteristic of standard Sosman & Landis profile pieces. They are also much brighter in color than the remainder of the collection too.
Finally, the stage machinery also predates the 1920s addition and is characteristic of those installed by Sosman & Landis during the first decade of the twentieth century.
Now, here is where it gets interesting. Thomas G. Moses records that he supervised the painting of the Scottish Rite scenery for Cheyenne in 1911. Why did they know about Sosman & Landis in Cheyenne? Well in 1881-1882 Sosman & Landis also provided the stock scenery for the Grand Opera House in Cheyenne. They had a foothold in the community already. This helps confirm the majority of scenes that are distinctly Sosman & Landis designs with their standard stencils. However, Volland Studio records also indicate that they delivered Scottish Rite scenery in 1924, about the same time that the Scottish Rite held reunions in their new theater in Cheyenne. The painted profile pieces and the few scenes that are inconsistent with Sosman & Landis Masonic compositions and may be attributed to Volland Studio.
What I have not had time to do is categorize the drops based on stencil placement, charcoal markings, composition, and other consistent characteristics that helps divide up the entire collection. Finally, there were even more drops stored at the Cheyenne Masonic Temple that had sat for decades, rolled up in an offstage area. Unfortunately they were disposed of a few years ago.
In short, I can confirm that the Scottish Rite Masons were using Sosman & Landis scenery in 1911 that was delivered to the Cheyenne Masonic Hall. And then there is the dead hung drop curtain against the back wall.
I was able to identify that it was a drop curtain due to the painted fringe and draperies. It also has identical bottom battens to the oldest scenery that is currently hanging. Yet, the front curtain would have been not wide enough for the current proscenium opening. Maybe it was kept for sentimental reasons. I would love to see what the composition is, as we were unable to see beyond the bottom two feet of the drop.
To be continued…
