Part 679: The 1900 Guthrie Scottish Rite Contract for Scenery
On April 28, 1900, the Scottish Rite in Guthrie, Oklahoma, purchased $2,190.00 worth of painted scenery and stage machinery from E. A. Armstrong Manufacturing Co. The firm subcontracted the creation of the leg drops, cut drops, backdrops and set pieces to Sosman & Landis in Chicago. The contract specified that all drops would be “counter-weighted and installed in working order.”
The order included a painted front drop (drop curtain) and white lantern curtain (picture sheet), 22 backdrops, 6 cut drops, 18 leg drops, and 11 other scenic elements.
Much of this collection was later sold to the Scottish Rite in Austin, Texas in 1914, although contract negotiations began as early as 1912.
What this contract clarifies, however, is how the scenery was described and the designation titles for composition. The descriptions would change over the years. For example, a “Royal Chamber Setting” becomes “Solomon’s Throne Room” as more painted detail, symbolic objects and emblems are added.
Here is a portion of the 1900 contract between the Guthrie Lodge of Perfection and E. A. Armstrong Manufacturing Co.-
FOURTH DEGREE
One drop with gates in opening; backing which is also used elsewhere being made reversible
FIFTH DEGREE
One stone interior set, consisting of one back drop with scrim panel and one leg drop – one tomb drop with practical doors
SIXTH DEGREE
One Royal chamber set, consisting of one backdrop and one leg drop; leg drop to be used with other sets.
NINTH DEGREE
One cave set, consisting of cave backing and one cut drop for front of cave; also one set for the water-fall.
FIFTEENTH DEGREE
One set showing ruins at Jerusalem; also used in 16th Degree, consisting of one backdrop, and two leg drops, One drop for Cyrus’ Palace; the leg drop of 8th Degree being used with this – One Treasure House set consisting of back drop and one leg drop- One bridge set, consisting of horizon drop; one profile fore-ground.
SIXTEENTH DEGREE
One Palace set, for Darius, consisting of one back drop and two leg drops
EIGHTEENTH DEGREE
One constellation set, consisting of one transparent spangled drop; one gauze cloud drop three light boxes showing “Faith”, “Hope”, and “Charity”.
One crucifixion set, consisting of one backdrop, one cut drop, and one leg drop.
One Calvary set, consisting of one back drop with set rose – One peristyle drop, with light box for words “Infinity”, “Nature”, “Reason”, “Immortality”.
One Cathedral set, consisting of one back drop, and one leg drop; One Ascension Scene, consisting of one back drop, One cut drop, one gauze cloud drop, one movable figure. One Hades set, consisting of one back, one cut, and one leg drop.
TWENTY-FIRST DEGREE
One interior wood set, consisting of one back drop, one cut and two leg drops; leg drops are also used in the 9th & 15th Degrees.
THIRTIETH DEGREE
One Egyptian Interior set, consisting of one back drop, and two leg drops.
THIRTY-SECOND DEGREE
One camp set, consisting of one backdrop and one leg drop
One white interior, consisting of one back drop and two leg drops, also a transparency of Great Symbol
MISCELLANEOUS
One drop curtain with emblematic devise
One pair of tormentors
One grand drapery
One White lantern curtain
One pair flipper wood wings
All drops counter-weighted and installed in working order in Guthrie.
Besides scenery, the Guthrie Scottish Rite ordered additional costumes, regalia, stage lighting, lighting apparatus, props, stage carpets, and other stage appliances. $1,319.05 worth of costumes and $419.75 of special light fixtures were added to the order in April 1900. The contract noted, “Goods were sent collect, but freight bills receipted are to be valid vouchers against the account.”
Records indicate that the Scottish Rite bodies needed a few more things… by May 15, 1900, an order was placed for belts, bronze pedestals, one table of Shrew-bread, one altar of incense, one brazen laver, one electric bell, three electric buzzers, one dozen small sized plain Mason’s trowels, and ten alcohol torches. A day later on May 16, another order was placed for 74 ½ yards of stage carpet for $46.74. On on April 21, they ordered a full papier mache skeleton for $12.50.
The orders to E. A. Armstrong Manufacturing Co. continued. In September 1900 the Guthrie Scottish Rite purchased a white altar cover, a black velvet cover with tears, a laurel and olive wreath, cast iron floor pocket, 3 extra switches, 14 standards, spears and pennons, 6 extra flags, 4 extra receptacles for $49.75.
In November they purchased an additional two pairs of Flipper wings [book flats], two Ground rows, a 16×24 ground cloth, a gauze cloud drop, a stone altar [likely for JBM] and eight stone blocks and column for $225.50. By the end of the month on November 20, 1900, the Guthrie Scottish Rite placed a large order for $250.10 worth of regalia; various officer jewels, aprons, banners, and lodge furniture from E. A. Armstrong Manufacturing Co. The orders continued, sometimes weekly, monthly, and yearly.
In less than a decade the Valley of Guthrie was outgrowing their theater space, and planned an expansion; one that would necessitate the purchase of all new stage machinery and scenery for a larger stage and proscenium opening. The scenery and stage machinery from 1900 were returned for credit on the purchase of a new collection. However, Brown was working for a different company – M. C. Lilley & Co. The scenery still found its way back to the Sosman & Landis studio, where they stored the collection until it was ready for another sale. The used collection was eventually sold the Scottish Rite in Austin, Texas, for approximately $1500, where it is still in use today; sometimes providing the setting for a children’s theatre production. Fortunately, the Guthrie scenery was never altered or replaced after it arrived in Austin. It did not suffer the fate of other collections as the Austin Scottish Rite continued to expand.
As membership increased in Scottish Rite Valleys across the nation, so did their stage needs. Additional settings were added, or entire scenery collections replaced, necessitating even more costumes, props and effects.
Once Scottish Rite stages were constructed, there were always elements that could be added or updated –as long as the membership recognized the theatrical interpretation of degree work as a priority. Over the decades, however, the priorities in some Scottish Rite Valleys shifted their attention away from stage improvement. This was especially common after membership the Rite began a slow descent. Incoming funds were funneled toward specialty projects, people and events. I have noticed that there was a definitive change in the direction of funds that occurred during the 1960s. It is hard to define the exact impetus or even define the change. You can spot it in the candidate classes, the building projects and charitable endeavors. I understand that at this same time, younger generations sought alternative forms of community and social groups. Some call it part of their struggle against the “establishment.” I wonder if it was simply an increase in social opportunities; there were more options for young people.
During the mid-twentieth century many Masonic buildings were also renovated, often given a “face-lift.”. Suddenly brown paneling concealed original ornamental plasterwork, as certain decorative elements were perceived as “dated.”
Occasionally elements would be added to the theater space, but it no longer was the norm to continually purchase scenic effects for the stage. Many of the changes had to do with individual comfort, such as new seating in an auditorium. Funds were also spent on new costumes, as the sizes of Americans continued to increase in height and girth. Original costumes were shoved to the back of the rack, replaced with larger polyester versions.
Stage crews began to see the wear and tear of scenic elements, often requesting funds that were denied as the work was perceived as optional. Therefore, the backstage crews began a series of in-house repairs. So far removed from the original theatre manufacturers, punctures in scenery could result in amateur patches using odd materials that ranged from fiberglass and plaster. I have even encountered sheet metal patches riveted on to a backdrop in Quincy, Illinois. Then came the contact cement and duct tape generation for in-house repairs. As the funds for maintenance and repair were limited or non-existent, few sought out any theatre professionals. Regardless of these amateur repairs, however, many collections remained untouched. Some were guarded by backstage stewards who yelled, “don’t touch it – leave it be!” These became the gems of the Southern Jurisdiction; the theatre time capsules that are so treasured today.
To be continued…
