I left Genoa, Illinois, at 5:45 AM on Tuesday, March 19. My goal was to arrive at the Louisville Scottish Rite between noon and 1PM. The drive was pretty uneventful, but there were many places that I wished I had stopped along the way; there is just never enough time. The first was the exit that would have brought me to Thomas G. Moses’ hometown of Sterling, Illinois. The second was the Crump Theatre in Columbus, Indiana. I could not take the time to stop, as I knew that my time was really limited at the Louisville Scottish Rite. My plan was to evaluate the entire collection on Wednesday. Today was simply scoping out the collection, rigging and facility with Rick. Also, this was the only day Rick could visit since the “New World Rigging Symposium” would prevent him from visiting Wednesday.
I contacted my Scottish Rite host Randolph. The intent was to visit for two hours while they were still open. Randolph had scheduled one of the Masonic stagehands to be there – Jim. Jim had worked the stage for many years and was an absolute wealth of information at 75 years old. Fortunately for me, Jim gave me their stage book that provided a little guidance in terms of inventory and line order. This is an unusual gesture, as I often have to prove how much I know before that stage book is passed along.
My visit on Tuesday was primarily about the rigging and Rick’s findings. Rick had a wonderful opportunity to fully explain the significance of this double purchase system to the stewards of this stage. He described that the 1930 system, original to the building, predated the Clancy patent several years later. As interested as I was in the unique aspects of the system I was more anxious to see a few scenes while he was in the flies. They brought in the first line and I began to catalogue information about this 4th degree interior setting.
My notes were placed within the historical context of the Louisville Scottish Rite that I have explored during the previous week. It was apparent that the majority of the scenery dated from 1910. Toomey & Volland business records noted two scenery deliveries – 1910 and 1951. The drops depicted standard designs and painting techniques characteristic of the studio.
Unfortunately, much of the scenery was restored at one point, with methods that may not be advantageous for the collection’s future. I understand the choices of those who repaired the scene, but wonder how these will age. Most scenes were backed with a type of gauze that appeared plastic, although it may have been the adhesive. The edges of cut scenes were backed with flexible foam core; this I had encountered in Cheyenne. For a new scene, ephemeral in nature, it is a brilliant idea. For historic scenery, I have to wonder how the foam will interact with the fragile fabric in the long run. The painted surface had also been sealed, resulting in a slight sheen. I have no idea what was used for this, as it had a plastic feel; almost reminding me of a product that I used on interactive exhibits for museum projects – Aquaplastic.
Finally, the netting was replaced with a plastic ½” square version; hot melt glued to the back. As Alessia Carpoca and I looked at this alteration near the end of the day, she asked the same question that has gone through my mind multiple times when seeing hot melt glued netting: “How could anyone be so stupid?” It is the idea that the drops of hot glue will never come of the back without damaging the fabric. The hot glue embeds itself in the weave and is permanently fixed. Even steam and heat only partially removed this product, as I have tried in the past. The process completely destroys the painted surface during its removal.
Meanwhile, Rick was occupied doing another good deed (as usual); helping balance some line sets to make them easier to move. He also took the time to thoroughly explain how the system worked and all of the various components. As previously mentioned, the Scottish Rite Reunion was scheduled to start in four days and some of the lines were difficult to pull.
For the most part, we try to leave any stage better than we found it, even if this means simply explaining a system and scenery for future clarity. In Scottish Rite theaters, the Masonic stagehands are often unfamiliar with the history of both. It is not unusual to find something amiss in these systems that require a simple tweak. After all, the systems have often not been maintained since their installation.
After Rick was done with his talk and the weight adjustment, we headed up to the grid. This was one of the easiest ascents ever to access the space above the stage.
We went up steps and followed boards above the auditorium space. I kept an eye out for trash, as treasures were often left in these attic spaces. Sure enough, there was a Mazda Edison box! We balanced our way to a small door, with Jim taking quick grip on me to make sure I would not fall. My sense of mortality has exponentially increased over the years, so I don’t wander to close to the edges anymore. However, I wasn’t going to miss an opportunity accompanying Rick and hearing his observations. It is always fun to be on site with Rick, as he so thoroughly explains what I am looking at and the nuances of each system. It is like the rigging class that does not end.
We left the Scottish Rite late afternoon, and I checked into the Hardy House (my Airbnb for the conference). Just about the time I was settling in and deciding to open a can of soup, I received a text from Randolph. He notified me that the Louisville Scottish Rite librarian and archivist would be contacting me soon, offering me the opportunity to visit the Scottish Rite library that evening. Regardless of my fatigue, this was not an opportunity that I would miss. So within the hour, I was waiting outside for my ride to head back to the Louisville Scottish Rite. It was certainly worth it as I spent the next few hours perusing books and chatting with Richard.
Like many, the library was a fraction of what it had once held. Books were missing and the contents somewhat sparse. However, there were certainly some gems left; absolutely priceless publications that would contribute to my ongoing research about visual sources used by scenic studios to produce Scottish Rite scenery. My biggest surprise was a Cerneau book with many recognizable compositions that were later incorporated into the Scottish Rite scenic designs.
To be continued…
