Month: April 2019

Scenery by Toomey & Volland, ca 1902. The scene was refurbished by Becker Bros. studio in 1927 and delivered to the Scottish Rite in Peoria, Illinois.

 

 

Part 725: The Fort Wayne Scottish Rite, 1909

The Toomey & Volland studio of St. Louis was also installing scenery and stage machinery in Scottish Rite theaters during 1909. One example was the Scottish Rite in Fort Wayne. Here is the article published in the Kansas City Kansas Republic on Dec. 2, 1909.

“Finest Cathedral.

Scottish Rite Temple in Fort Wayne is Dedicated.

Masons of High Degrees at Exercises Attending Opening of $200,000 Temple-Has a Fine Banquet.

Fort Wayne, Ind. –The new Scottish Rite cathedral in Fort Wayne, costing about $200,000, and said to be the finest in America, was dedicated on the evening of November 17 in the order from most of the larger cities of the far east and middle west. The dedication was preceded by a banquet-room. At which 1,000 plated were laid. The banqet-room of the cathedral fills the entire ground floor and is one of the largest and most ornate halls in the west.

Owning to the illness of Sovereign Grand Commander Samuel C. Lawrence, 33, of Boston, the master of ceremonies was Barton Smith of Toledo, 33, puissant lieutenant grand commander, assisted by John Corson Smith, 33, grand minister of the state. William Geake, 33, of this city, commander-in-chief of the Fort Wayne Sovereign Consistory, assisted in the dedication.

The dedication was held at the regular time of the fall meeting of the consistory for the Valley of Fort Wayne, and 300 took the Scottish Rite degrees. Degrees were given from the fourth to the Thirty-second. Heretofore this valley had no jurisdiction beyond the eighteenth degree, and the degrees from the 19 to 32 were conferred here for the first time. As the consistory has already nearly 1,100 members, the Fort Wayne consistory has become one of the largest in the country.

The cathedral, which was designed by Mahurin & Mahurin of Fort Wayne, is a at Clinton and Washington streets, in the residence section, with the handsome First Presbyterian church across the street. It is built of Bedford stone on all sides and is thoroughly fireproof, being finished within with concrete floors, marble stairways and wainscoting, and iron balustrades. Some rooms are finished in Cuban mahogany, but there is very little inflammable material anywhere. The heating is by steam and the lighting by electricity.

The cathedral is three stories high, with a spacious basement. The ground floor will be the banquet and ballrooms, with galleries. The social rooms are on the second floor, which is also provided with quarters for the ladies. There is also a room for the Mystic Shrine. The third floor is occupied by the consistory auditorium, which is arranged on the stadium plan with tiers of opera chairs rising steeply, so that those in the rear seats can all see the work on the large floor below. There are seats for nearly 600 in this auditorium. The organ loft is in the north and at the south end there is a spacious stage provided with scenery, the work of a St. Louis firm.

The proscenium arch is elaborate with the designs and emblems of the several degrees. The decorative design and color scheme were the work of a Chicago firm. The organ was made in Rock Island at a cost of $6,000.”

Here is a link to the Consecration and dedication of the Scottish Rite Cathedral, Valley of Fort Wayne, Indiana, Tuesday, Wednesday, Thursday, November 16, 17, 18, 1909, on the Internet Archive:

https://archive.org/details/consecrationdedi00unse/page/n7

This building on the corner of Washington and Berry Streets no longer exists. In 1953, the Fort Wayne Scottish Rite bought the Mizpah Shrine building on the corner of Ewing and West Berry. Constructed in 1925, the Shrine building had a seating capacity of 2,400 that hosted a variety of non-Masonic events and has quite and interesting history. Unfortunately, the Fort Wayne Scottish Rite left this home too when St. Francis University purchased the structure in 2012. Here is an article about the Shrine building, second home to the Fort Wayne Scottish Rite: http://historycenterfw.blogspot.com/2012/01/scottish-rite-history-in-fort-wayne.html

To be continued…

Part 724: The Temple Theatre in Rochester, 1909

Sosman & Landis delivered stock scenery, an asbestos curtain and a drop curtain to the Temple Theatre in Rochester, New York, in 1909. The Temple Theater was located just across the street from the popular Lyceum Theatre on Clinton Street. This was the same year that they also delivered Masonic scenery to Scottish Rite theaters in Winona, Minnesota, Kansas City, Kansas, Dallas, Texas, Atlanta, Georgia, and Memphis, Tennessee.

On September 22, 1909, and advertisement for the Cook Opera House was placed in the “Rochester Democrat and Chronicle,” noting that it was “to be succeeded in November by the Temple Theatre as Rochester’s Home of International Vaudeville” (page 16). As the Cook Theatre, it was the present home of “J. H. Moore Vaudeville” (Democrat and Chronical, 14 March 1909, page 24).

There were venues known as “Temple Theatres” across the country, many managed by the Knights of Pythias. There were many other Temple Theatres in 1909, including those in Alton, Illinois, Youngstown, Ohio, New Orleans, Louisiana, Palestine, Texas, and Detroit, Michigan, to name a few.

In regard to the new Temple Theatre in Rochester, he “Democrat and Chronicle” reported, “[the Temple Theatre] will have the most complete vaudeville house on the American continent” (25 October 1909, page 10). Architect Leon H. Lempert drew the plans and supervised the construction of the theater. Of the installation, the article continued,

“The stage scenery is from the studios of Sosman & Landis of Chicago, and a carload of scenery will arrive in the city next week, several other cars of scenery following rapidly. The asbestos, or fire curtain, will be the first to be placed so as to avoid wrinkling and the beautiful drop curtain will be the last thing.

This drop curtain will be a picture of Marie Antoinette receiving Louis XVI at Versailles. The scenic equipment itself is perhaps the most elaborately ever placed in a vaudeville theater in the world, and the subjects as well as the designs of the interior scenes were carefully selected at a conference of the artists, the owners and the architect. J. H. Moore gave carte blanche for this work. And the cost of the decorations and scenery alone is more than the cost of the average theatre.”

Of the other elaborate decorations in the new Temple Theater in Rochester included fresco work was completed by Charles S. Allen of New York. The article noted that he worked on the ceiling with “a dozen Italian artists” who were brought to this country to decorate the home of Charles M. Schwab, the steel magnate. Furthermore. The mural paintings on the soundboard above he proscenium arch were painted by Raphael Beck, an artist from Buffalo, New York. Beck had exhibited his work at the Pan-American Exposition.”

To be continued…

Part 723: Kansas City Scottish Rite, 1904, 1906 and 1909

In 1909, Sosman & Landis provided a second set of scenery for the Scottish Rite in Kansas City, Kansas. The history of the Kansas City Scottish Rite is a little confusing. There were two Kansas City Scottish Rites, one in Kansas and one in Missouri. This makes it difficult when tracking down information about either one, as the same newspapers often published information without specifying the state.

In 1904, Sosman & Landis delivered a first set of scenery to the Kansa City, Kansas, Scottish Rite (see past post 692). This was the same year that the company also produced Scottish Rite scenery for Fort Scott, Kansas. The first Kansas City, Kansas, Scottish Rite was designed by architect W. W. Rose, and located at the corner of 7^th and Ann Street. On April 1, 1904, The Lincoln Journal included an article on the new building, however a description of the stage area and scenery was absent. It was intentionally concealed from the public for the event, closed off with a curtain. The article only noted that the stage was “thirty-two feet deep and thirty seven feet to the gridiron and has a full equipment of scenery and appointments including a switchboard, which controls every light in the room from the stage.” Unfortunately, the stage, auditorium and building all went up in flames only two years later.

During October 1906, the three-story building caught fire during a street fair. The Iola Daily Record reported that the Masonic Temple, its entire contents, two residences adjoining the block, and half of the booths at the street fair were destroyed by fire (October 20, 1906, page 1). The cause of the fire was the explosion of a gasoline stove in the booth occupied by the ladies of the Central Christian Church. The flames spread rapidly throughout the booths, and the Masonic Temple was the first building to suffer damage on the corner of Seventh Street and Ann Avenue. All efforts to save the structure proved futile. Among the losses were Scottish Rite paraphernalia and stage settings, valued at $50,000; their insurance only covered $16,000 of the loss (Kansas City Gazette. 27 Oct. 1906, page 1). Other newspapers reported the loss paraphernalia, furniture, fixtures and stage scenery, was valued $20,000 and only insured for $6,500 (Kansas City Gazette. 27 Oct 1909, page 1). Many other Masonic bodies in the building also lost uniforms, regalia, ritual and records, including Wyandotte Lodge No. 3, the oldest Masonic lodge in Kansas.

On October 27, 1906, the Kansas City Gazette reported “The Masons Will Rebuild.” The article quoted R. J. McFarland, general secretary of the Scottish Rite, who said, “We have definitely decided on a magnificent building to be erected on our property at Seventh and Ann at a cost of $10,000. As we depend entirely on our members it must be through them that we raise the amount necessary. We will hold a meeting Wednesday evening of all Scottish Rite bodies to discuss various plans regarding funding.” Grand Commander James D. Richardson and grand secretary Frederick W. Webber, or Washington, D.C. were in attendance at the meeting.

The Scottish Rite bodies approved plans for the new Masonic Temple on June 5, 1907. Again W. W. Rose designed the new four-story structure that included a sixty-foot frontage on Seventh street and a depth of 136 feet on Ann Avenue. The exterior of the building was noted as a mixture of “Hebrew and Arabic,” with the roof being supported by “Moorish pillars” (The Weekly News, 7 June 1907, page 1). The auditorium and stage were located on the second, third and fourth floors, with the fly loft rising to the roof. The large space included a forty-foot stage and balcony with a seating capacity of 800.

In 1909, the new Scottish Rite building was dedicated in Kansas City, Kansas. The Kansas City Times reported, “The Scottish Rite Temple in Kansas City, Kas., which cost $100,000, will be dedicated at 8 o’clock tonight. The ceremony will be performed by James D. Richardson, sovereign grand commander of the Scottish Rite Masonic bodies in the United States. This ceremony will close the twenty-third semi-annual reunion of the Rite in Kansas City, Kas. A class of 150 persons have taken degrees from the fourth to the thirty-second at this reunion” (19 Nov 1909, page 12). The Fall Reunion was the twenty-third for the Valley of Kansas, Orient of Kansas. On the first day of the reunion, Thomas Wentworth Harrison of Topeka, SGIG in Kansas was in attendance (Kansas City Times 18 Nov. 1909, page 1). On the second day of the reunion, the degrees of Victory Chapter Rose Croix were conferred on a class of seventy-five candidates. In the third day, the degrees from nineteen to thirty inclusive in John H. Brown Council Knight Kadosh were conferred to the candidates.

To be continued…

Part 722: The Palette & Chisel Club Camp at Fox Lake, 1909

Like theatrical managers, scenic artists also sought to escape the tranquility of the country, escaping the hard work of the studio and the noise of the city. Thomas G. Moses wrote of summer sketching trips to Fox Lake, Illinois, throughout the early twentieth century, especially in 1909.

In 1905 the Palette & Chisel Club at the Chicago Society of Artists formed an artistic community along in Fox Lake. The club was founded in 1895 and consisted of a variety of artists and craftsmen for the purpose of work and study. The members were “all wage-workers, busy during the week with pencil, brush or chisel, doing work to please other people” (Inland Printer, 1896). On Sunday mornings, they gathered for five hours to paint just for themselves.

Fox Lake provided haven far away from the hustle and bustle of Chicago. Many Sosman & Landis artists journeyed to Fox Lake whenever they could escape the studio for a few days, including Moses. In the beginning, the site was quite rustic with tents and cots. In 1906, one year after the group formed the camp, Moses joined the Palette and Chisel Club. At the time, the group consisted of approximately sixty local painters, illustrators, and sculptors. Of Moses’s first trip to their seasonal camp, he wrote, “June 1^st, I made my first trip to the Palette and Chisel Club camp at Fox Lake, Ill. Helped to put up the tent. A new experience for me, but I enjoyed it. I slept well on a cot. Made a few sketches. A very interesting place. I don’t like the cooking in the tent and there should be a floor in the tent. I saw a great many improvements that could be made in the outfit and I started something very soon.”

By 1908, Moses wrote, “I bought the portable house that we built years ago and at that time we received $300.00 for it. I finally got it for $50.00, some bargain. It cost $25.00 to remove it and we will put it up at Fox Lake in the Spring.” The house had been used in Forest Park that summer to show the attraction, “The Day in the Alps.”

The next summer, Moses wrote, “As we had put up the portable house in Fox Lake, I was better contented to go up. I gave the camp a portable kitchen and it was some class. I felt sure I would manage to get a camp outfit worth while and the boys all fell in line with me.” In 1909, he also wrote, “I also enjoyed sketching at the Lake. That is one thing I don’t think I could ever get enough of. But our business has to be taken care of before too much pleasure.”

There were two significant events over the course of the last five years that placed Fox Lake in more of a personal context for me. The first occurred in Minnesota, and the second occurred in Maui. In 2014, I discovered a map to Fox Lake drawn on the backside of a Scottish Rite drop destined for Winona, Minnesota, in 1909. This was the same year that Moses wrote, ““As we had put up the portable house in Fox Lake, I was better contented to go up.” Located near the top batten on the stage right side, I discovered the pencil sketch while placing the Winona scenery collection into temporary storage for the City of Winona. The backdrop was later sold in an online auction with many others from the scenery collection. It is now somewhere in storage at the Des Moines Scottish Rite, likely not to be seen for years.

The second event occurred in 2017. That fall, three very small paintings by Thomas G. Moses came into my possession from Moses. One of his great grandchildren sold these and a few others to me. Our friendship began, after he responded to a 1996 letter that I sent out in 2016. Three of the paintings from his collection were of the same size and vintage, with one titled “Fox Lake, 1909.” The other two depicted a distant lake and the Palette & Chisel Club’s portable house at Fox Lake. These three scenes painted on hardboard had remained with the family for decades; they meant something special to Moses.

It was Moses’ view of Fox Lake that prompted my entire journey to the Hawaiian Islands.

They each remain a lovely reminder to me – take time for yourself. We all need to enjoy some form of scenic retreat, a respite from the daily grind. That is one of the reasons that I decided to start offering Scenic Art Retreats last year, hosted by Historic Stage Services. They are held at a stagecoach stop along a picturesque river in central Minnesota. Here is the link: http://www.historicstageservices.com/training.html

 

To be continued…

Part 721: Where the Managers Will Swing Hammocks, 1909

Yesterday I explored Thomas G. Moses’ trip to Oconomowoc, Wisconsin. He stopped to visit theatrical manager Charles E. Kohl at his summer home, “Brier Cottage.” While researching the background for this story, I came across an interesting wonderful about the summer homes of theatrical managers. It was published in the “Chicago Tribune” on June 13, 1909:

“The call of the wild seems to have a peculiar charm for those engaged in theatrical business. Actors and managers alike are anxious to get back to nature during the brief intervals of leisure that an exacting business permits, particularly in the summer season when the pressure slackens and the charm, of the good old summer is potent.

Chicago managers like their associates in the east, most of whom have summer houses on seashore or mountain are quite given to indulging in the pleasures of country life.

Milward Adams of the Auditorium has a beautiful rustic place I upper Michigan. Will J. Davis has long possessed a big farm called Willowdale, near Elkhart, Ind. where he is always happiest when dispensing hospitality to his friends.

Charles E. Kohl, who, although unassuming to a degree, is the most influential personage in American vaudeville, has one of the show places in Lac La Belle, Oconomowoc, a place which twenty years of liberal expenditure and hard work have developed from the virgin forest into an ideal summer home.

Harry J. Powers long ago selected Geneva lake as the place where, with the aid of his family, he could recuperate during the salad season, when every prospect pleases and only business is vile.

The Hamlins of the Grand opera house have for many seasons enjoyed a lodge in the wilderness of the Adirondacks which possesses ten thousand charms at every turn for the lover of nature.

 

George Lederer finds the seashore to his taste and F. Wight Neumann, who has blossomed into the dignified estate of operatic impresario, inhabits a Massachusetts cottage when not hunting the coy and elusive sing bird in Europe.

 

Lyman B. Glover, manager of the Majestic theater, is one of the latest victims of this longing for nature, having purchased last year a valuable vineyard and fruit farm in the heart of the Michigan fruit belt and on the shored of beautiful Eagle lake. Here he may loaf and invite his soul on an occasional summer day. Perhaps living in an atmosphere of illusion sharpens the theatrical appetite for nature’s own charming reality”

 

To be continued…

Part 720: A Trip to Oconomowoc, Wisconsin, 1909

Thomas G. Moses visited Oconomowoc (coo-no-mo-wauk), Wisconsin, after visiting Ellenville, New York, during 1909. Moses wrote, “On my return I took a trip to Oconomowoc to see Mr. Kohl about some work. I enjoyed the trip for I had the pleasure of seeing not only his fine home but several others that were palaces. A beautiful place to live.”

Moses was referring to theatrical manager Charles E. Kohl (1855-1910). Kohl was a partner of the firm Kohl & Castle Amusement Co., with offices in the Majestic theatre buiding in Chicago. The firm was identified with the Western Vaudeville Managers’ association in the Orpheum Circuit, controlling the Haymarket Theatre, Chicago opera house, Majestic and Olympic theaters in Chicago, as well as operating a chain of vaudeville houses throughout the Midwest.

Like many wealthy Chicagoans, the Kohls owned a lake home. In 1892, C. E. Kohl and his wife Caroline Lewis Kohl (1863-1950) built “Brier Cottage,” their 45-room summer home at Lac La Belle. It was situated between the Schufeldt and Dupee estates. Lac La Belle, a body of water that covers approximately 1154 acres, with a maximum depth of 45 feet. Of their residence, the “Chicago Tribune” reported, “Charles E. Kohl, who, although unassuming to a degree, is the most influential personage in American vaudeville, has one of the show places in Lac La Belle, Oconomowoc, a place which twenty years of liberal expenditure and hard work have developed from the virgin forest into an ideal summer home” (June 13, 1909, page 22).

The region around Oconomowoc, Wisconsin, was originally inhabited by Potawatomi people, descendents of Woodland Indians known as the mound builders. The name Oconomowoc described “falling waters” in the area.

European immigrants settled the area during late 1820s and 1830s, and by 1837, New York native Charles Sheldon staked a homestead claim on the eastern shore of Fowler Lake. Soon afterwards, H.W. Blanchard did the same on the other side of the lake. Oconomowoc was not incorporated as a town, until 1844. Soon, Watertown Plank Road connected Oconomowoc to the nearby towns of Milwaukee, Waukesha, Pewaukee, and Watertown.

By 1853 the town had grown to include 250 residents with ten stores, three hotels, a gristmill, a sawmill and a school house. The first passenger train arrived from Milwaukee in 1854, becoming a stop on the Milwaukee and Watertown Railroad Company’s Milwaukee & Mississippi line. The population of Oconomowoc grew so rapidly that the town incorporated as a city in 1865. By the 1870s, Oconomowoc became known as a summer resort for wealthy Midwestern families, such as the Kohls. These seasonal residents began constructing lake homes throughout the area, escaping from larger metropolitan for short respites throughout the year.

By the early twentieth century, seasonal residences were owned by P. A. Valentine, George A Seaverns, W. Vernon Booth, Garrad Wiston, P. D. De Coster, A. J. Earling, Lawrence Fitch, as well as C. E. Kohl. In addition to enjoying the summer at their lake homes, many returned to the area to celebrate the Christmas and New Year’s holidays too (Chicago Tribune, 24 Dec. 1909, page 9).

1909 was a dramatic year for the Kohl family when Moses visited Ocononomowoc. The couple had been married for twenty-four years and had raised four children – Charles, John P., Caroline and Dorothy (Inter Ocean, 28 June 1909, page 5). Although no strangers to challenges of raising a family, they were surprised by a June event. Their youngest son, John P., secretly married the vaudeville actress Vinie Daly in Philadelphia.

Daly’s birth name was Elvira Delehanty. She was the daughter of well-known actress Lizzie Daly and had been on stage since she was 20 months old. She performed in theaters throughout the United States, Canada and Europe, many venues controlled by Kohl’s father (Chicago Tribune, 11 Sept, 1909, page 5).

John P.’s adventure began on June 23, 1909, when he left his Oconomowoc residence and headed east on a train to Philadelphia. After Daly’s matinee performance at Keith’s Theatre, the couple obtained a marriage license and were married by 7:30pm that evening. According to the newspapers, it was a very brief marriage. Only three months later, the marriage was annulled, as John P. was a minor and did not have his parents’ consent at the time (Chicago Tribune, Sept 11, 1909, page 5). The younger Kohl was 20 years old, with a bride five years his senior. The court case for annulment was covered by newspapers across the country. The “Harrisburg Star-Independent” reported, “After the older Mr. Kohl had testified his son’s lack of experience and poor judgement young Kohl told the court how he happened to marry the actrress.

‘I met her in Chicago while she was filling an engagement,’ testified Kohl. ‘Vinie asked me to marry her and not to tell my parents until I was of age.’

‘Did she ask you many times to marry her’ asked Attorney Levi Manner, who represented the vaudeville man. ‘Oh, yes, on many occassions, but I always refused until the last time,’ he replied.

Young Kohl then told of running away from Oconomowoc, Wis., where he had been spending the summer, and on meeting the actress at Keith’s theatre in Philadelphia, and of the subsequent marriage.

‘After we were married,’ he said, ‘we returned at once to the theatre where she played her part. I waited for her, and after the show I told me bride I was sorry for what I had done. I left her and took that first train back to Chicago and told my mother all about it.’

I have to wonder if this was the watered-down story for the court to ensure an annulment.

Sadly, the 45-room summer home no longer exists, as it was torn down in 1935. A combination of Caroline Kohl’s deteriorating health and the Great Depression were the major contributing factors at the time. In 2016, however, a lovely photo of the original home was listed online with some history tidbits for Geocaching. Here is the link: https://www.geocaching.com/geocache/GC6NJY8_oaht-1624-kohl-family?guid=8dbfe302-ac55-4e60-ab10-f2402127ce77.

To be continued…

Part 719: Ellenville, New York, 1909

In 1909, Thomas G. Moses wrote, “July 10^th, Mama, Mary and myself started for Ellenville, N.Y. where we met all the family, except Rupert. We had a fine vacation, which I have written in detail in my “Ellenville sketching trip of 1909.” Unfortunately, Moses’ travelogues have yet to be located for reference.

The first time that Moses mentioned Ellenville in his typed memoirs, however, was during 1903. At the time he wrote, “I also found time to take the family to Ellenville, N.Y. I made quite a number of sketches.” In many cases, family outings for the Moses family coincided with prime sketching locations. This often provided Moses with an opportunity to capture local scenes and gather resource material for future painting projects in the studio.

The region surrounding Ellenville had been drawing artists for quite a while when Moses first ventured to the picturesque area. Ellenville is located about 90 miles northwest of New York City and about ninety miles southwest of Albany. One of the oldest public roads in the United States also runs through Ellenville, “sanctioned” by the King and Queen of Holland. It was originally used by the Leni-Lenape Indians who traveled between the Hudson and Delaware valleys, later becoming known as the Minisink Road, the Old Mine Road and Kings Hoghway. It has since lost any historical character and is now known as simply Route 209.

Ellenville is located in the Rondout Valley, at the eastern base of the Catskill Mountains and the western base of the Shawanguk Ridge. Sandburg Creek and Beer Kill intersect in Ellenville to form the Rondout Creek, that then flows north to join the Hudson River near Kingston. The area is currently within the Hudson River Valley National Heritage Center.

In examining pictures of the area and the history of the town, I uncovered a few interesting tidbits about the area, the most interesting in how the village received its name. When the village constructed its first post office in 1823, it was known as Fairchild City. Named after a prominent landowner, it was during a meeting to discuss potential names for the village that Ellen Snyder queried, “Why not name if after me?” After prolonged discussions and the inability to select any other name, the residents decided to use the proposed name of Ellenville.

Another fun fact about the area is that on August 21, 1931, Franklin D. Roosevelt announced his run for presidency in Ellenville. His keynote speech began, “my friends and neighbors of Ellenville.” Roosevelt then touched upon his family’s connection with Ulster County, the significance of state parks, the beauty of the Catskills, and the challenges of progress. For more information about this beautiful area and its history, visit: https://findellenville.com/find-yourself-in-ellenville-ny/ellenvilles-historical-facts-and-figures/

To be continued…

The Boston Scottish Rite primarily uses an LED wall for the degree production backings. I had the opportunity to examine the effect on April 12 before my afternoon flight. My host went out of his way to take time from his full schedule to share both the building and his work.

The Boston Scottish Rite has only a few historic backdrops, ranging from the early to mid-twentieth century. The later versions are fairly crude traditions of standard themes, done in brilliant dye work. It really is an odd mix of painted elements. The theatre is located on the seventh floor of a building with architecture that is reminiscent of many Northern Masonic Jurisdiction Scottish Rite theaters, Gothic in feel.

I was anxious to see how well an LED wall worked in a historic venue. There can be many short-term benefits to embracing digital scenery before the system becomes obsolete and/or irreparable. Scene changes require no stage crew and the subject matter is limitless, with endless possibilities for backings during degree productions.

However, I recognized that the use of digital images in lieu of historic scenery could result in an overall loss of scenic illusion on the stage. Until I saw the LED wall in Boston, I was unsure as to the extent. There is increased realism for the backing and more flexibility of subject matter, but there is something missing from the stage aesthetic. It is as if the soul of the stage has disappeared, with the space being transformed into something entirely different.

There are a few things to consider when contemplating a switch from traditional painted scenery to digital imagery for Scottish Rite degree productions.

LED walls are fantastic for many things, but the technology is racing so fast that they become obsolete in a relatively short period of time. This nuance of technology is frequently not fully understood by those purchasing a new system. Often the Masonic clients have lived with their historic scenery and stage machinery for decades, and they expect a new system to last just as long. This is especially pertinent if a substantial amount of money is being spent on an entirely new system.

A parallel could be made with much older adults who consider the purchase of a computer as an investment, not a short-term appliance that will soon have to be replaced as technology continues to advance. The same can be said with motorized line sets, lighting systems, and any other digital systems; at some point they will need to be replaced as they will not last for an extended period of time. Many modern components for the stage with computer systems and software cannot last for decades, as technology races forward, thus making replacement parts often unavailable when the need for a repair occurs a few years down the road. At some point the technology will need to be repaired or replaced. As we experience with many other appliances in our home, it may not be possible to get the necessary replacement parts if our specific the model is no longer being produced as better versions are available. Does the client realize that their new technology has a proverbial shelf life and that the entire system will soon need to be replaced?

Regardless of the ease of use, or anticipated life expectancy of an LED wall, its mere presence is incongruous with the visual aesthetic established by historic costumes and properties. What made the traditional painted illusion so successful was that the selection of scenery, props and costumes where selected as a part of a unified visual whole; one intended to be illuminated in a very specific way. To overcome the brilliancy of the LED screen as a backing, I would be curious to see how bright the front light needs to be during degree productions.

A few digital images that the Boston Scottish is using for their LED wall is identical to that used by the Fort Worth Scottish Rite. The photographs originated from a scenery collection produced by Don Carlos Du Bois, representing the Great Western Stage Equipment Co. of Kansas City. The stage compositions are vibrant and very characteristic of the mid-twentieth century. As projections, there is a tendency for fading and a loss of detail. I again noticed this on the USITT Expo floor when looking at a rear projections screen placed next an actual backdrop. The dark areas weren’t as dark as they needed to be. There is a lack of overall contrast, and everything seems to be a just little too light. At the time, I considered how well a rear projection screen would work for degree productions, with performers being placed in front of so much light.

Now the digital images of historic backdrops on an LED wall are even brighter. The spacing between individual LED lights is based on the viewing distance. Just as scenic art painting techniques fall apart as the viewer nears the backdrop, so do individual LED lights that relay the overall image; the farther away the audience is, the greater spacing between the lights. This is why they work so great for rock concerts in auditoriums that seat thousands of people. At the Boston Scottish Rite, the LED wall reads best from the back row of the auditorium, not from the first few rows. It is almost too much technology for the relatively intimate space as you near the stage, let alone step onto the stage.

Now, let’s consider the overall experience of degree participants, after all, that is a major consideration when altering degree work practices. An LED wall creates an entirely different environment for the stage performer. Stepping onto stage in the midst of a fully lit historic scene is magical. You are encompassed by brilliant color and detail, becoming part of the scenic illusion. In the short time that I stood next to the LED wall in Boston, my eyes hurt. The brilliancy for the screen overpowered the entire stage and was very distracting.

 

The same can be said for the audience experience as you are watching degree work in front of an LED wall. There is a distinct light spill from the image on the screen and I would be curious to see how much front light on the performers is necessary. Just as dimly lit stages cause visual fatigue for the audience, so do brilliantly lit compositions, especially if you are ten feet way.

I am curious to see how long this system will last in Boston and hear about the Scottish Rite degree participants’ experiences.

To be continued…

Last summer, William D. Moore invited me to be the guest speaker at fifth annual American Fraternalism event at Boston University during spring 2019. Will is the Director of the American & New England Studies Program and an Associate Professor of Material Culture. Two of his past publications include “Masonic Temples: Freemasonry, Ritual Architecture, and Masculine Archetypes” (University of Tennessee Press, 2006) and “Secret Societies in America: Foundational Studies of Fraternalism,” co-authored with Mark Tabbert (Cornerstone Book Publishers, 2011). Will had been following my blog for some time, purchased “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book, and was intrigued with my current research posted to my blog.

Several incidents shaped my topic, “A Masonic Legacy: Bestor G. Brown and Brown’s Special system,” and other articles that I was working on at the time.

Between November 2018 and February 2019, I wrote three articles: “Setting the Stage” (Theatre Historical Society of America’s fourth quarter issue of “Marquee”); “Brown’s Special System for Scottish Rite Theaters in North America” (TheatreInitiative Museum Berlin’s “Die Vierte Wand 009); and “Brown’s Special System: A Masonic Legacy,” (Scottish Rite Research Society’s spring newsletter “The Plumbline).” At the same time, I was still writing my blog and starting to make contact with the Valley of Portland in regard to Brown’s special system; they have the earliest example as originally installed in 1903, being manufactured in 1902. Then toss in work projects, conferences, family, the holidays, and other obligations; busy time at our house.

In regard to Boston, I was most excited to see Will. We first met during the planning stage for Lance Brockman’s touring museum exhibit, “Theatre of the Fraternity: Staging the Ritual Space of Freemasonry, 1896-1929.” The last time I saw Will and his wife was the Weisman Museum in 1996 when the exhibit opened. By the way, Lance’s catalogue still is available for sale on Amazon, here is the link: https://www.amazon.com/Theatre-Fraternity-Scottish-Freemasonry-1896-1929/dp/0878059474

I arrived in Boston on Tuesday, April 9, and spent a lovely afternoon chatting with Will about numerous fraternal subjects. We continued the conversation over dinner, adding his wife Charlotte to the mix. What a delightful arrival and evening spent with two extremely fun people. My presentation was not until 7:30PM the next day, so I was able to spend some time relaxing and writing in Brookline, New York. I am currently working on my next book about Sosman & Landis studio, so I treasure anytime that is devoid of distractions. Before my presentation, there was a group of us that went out to dinner, including friend and colleague Diane Fargo who teaches scene painting at BU; she is a remarkable artist in her own right.

My presentation went extremely well, lasting 45 minutes with a 15-minute Q&A that followed. In attendance BU staff and students, as well as visiting Masons from Boston University Lodge, Harvard Lodge, the Lodge of St. Andrew and the Boston Scottish Rite. That evening, I was invited to tour the Scottish Rite stage before I left town the next day. On April 12, I visited the Boston Scottish Rite and the Grand Lodge of Massachusetts. I knew that there would very little scenery, as the hemp system was replaced and an LED wall added to the mix. I was very curious to see how well new technology replaced historic scenery.

To be continued…