Month: July 2019

After visiting the home of Thomas G. Moses, I ventured over to see the gravesite of another scenic art legend – Walter Wilcox Burridge (1857-1913). The day had turned into a scenic art pilgrimage, as both Moses and Burridge were incredibly significant within the framework of American scenic art.

On Saturday, June 28, 1913, the “Oak Leaves” reported, “The funeral of Walter W. Burridge, late of New York, took place this Saturday afternoon from Grace church. Mr. Burridge died in New Mexico and the funeral took place here because Oak Park has become the home of Mr. Burridge since he became ill. Interment will take place at Forest Home” (page 34).

Unfortunately for me, my visit coincided with an intense heat wave in the Midwest. It was far too hot to be traipsing about the Forest Home Cemetery, yet I persisted, realizing that this opportunity may not dome again. Moving the car from one shaded spot to another and donning my sunhat, I finally located the Burridge’s tombstone. Kneeling in the grass before his grave, I took a moment to contemplate the life of this extremely talented artist.  Despite the heat, I thought about his many projects in a relatively short period of time. Burridge died from “heart disease” at the age fifty-six years old while on a sketching trip to Albuquerque. He was working on an upcoming project for the 1915 Panama-Pacific Exposition.  

A line from the musical “Hamilton” popped into my head while kneeling in the warm grass, “I ask myself, what would you do if you had more time.” Moses included an article by T. D. Williams article about Burridge in his scrapbook. Here is the article, “Great Colorist Dead.”

“A number of Chicago gentlemen prominent in the paint business have been life long friends of Walter W. Burridge, an artist of national, and one might almost say, international repute, because he visited London several times in the interest of art, who just dies while at Albuquerque, N. M., where he had gone to make sketches for pictures to be exhibits at the Panama-Pacific Exposition. The pictures painted by Mr. Burridge of the Grand Canyon earned him great praise, while other well known works have brought him equal prominence. He studied color, as every artist must do, and he sought and obtained pleasing effects for his scenic work, and is probably best known for his wonderful production of stage scenery. Many leading theatrical managers, actors and authors engaged him to paint settings and illustration for their productions, and there are few men who in the present time have painted as many excellent scenic and studio pictures. His beautiful pictures of Yellowstone National Park scenery have never been surpassed, while his wonderful scheme of color, so true to nature, makes a living record of the beauty and grandeur of the Yosemite valley, cataracts, lakes, giant rocks, towering domes and all the beauty spots of the valley which he faithfully transferred to canvas. The studio pictures of Mr. Burridge have frequently been exhibits in the various art institutions and galleries of this country. Nature was his great teacher. His mastermind gave him supreme command of the scale of color, which is evidenced by the many beautiful works of art which he has left. Mr. Burridge came from New York and was a resident for many years in La Grange, Illinois, the beautiful suburb in Chicago, in which he had many friends.”

Although I have written extensively about Burridge in past installments of “Tales of a Scenic Artist and Scholar,” here is a brief recap of his career:

At a very early age, Burridge apprenticed himself to a sign painter from Hoboken, New Jersey.  His talent and outgoing personality soon brought him in contact with key personalities who were connected with the old Park Theatre in Brooklyn. Burridge soon found himself engaged as a part-time scenic art assistant, and by the age of thirteen was working full-time for Harley Merry at his Brooklyn Studio. Merry was the “artistic alias” for English stage performer Ebenezer Brittain.

Burridge was only was thirteen tears old at the time. He accompanied Merry to complete distant projects in both Chicago and Philadelphia, making all of the necessary connections for his career to soar. Burridge’s early career included a series of mentors, such as Russell Smith, who took a great interest in shaping the career of this talented young artist, later recommending him for a series of projects. Burridge’s talent and magnetic personality drew people toward him, providing one opportunity after another.  His network of support included well-known performers and producers, including actress Mrs. John Drew.

Burridge’s artistic endeavors throughout the duration of his career spanned all across the continental United States and Hawaii. I will include just a few of the more notable venues. In Philadelphia, Burridge did a considerable work at the Arch Street Theatre, Broad Street Theatre, Walnut Street Theater, and Academy of Music. He also painted scenery for the Academy of Music in Baltimore, before moving to New York City where he accepted an engagement under J. H. Haverly, painting for many of Haverly’s theaters from New York to California, including the Fifth Avenue, Fourteenth Street, Niblos’ Garden, and Chestnut Street theaters. Other artistic endeavors included panoramas. In 1876, Burridge painted the “Siege of Paris” for the Centennial and later the “Battle of Gettysburg.”

He moved to Chicago by 1882, settling in suburban La Grange with his wife and securing work at the Bijou, 14^th Street Theatre and Standard Theatre.  Around this time, Burridge was also under contract with John A. Havlin from 1882 to 1885 for work at the Grand Theatre. He also worked for six years as the scenic artist at the Grand Opera House and at McVicker’s Theatre; the man seemed unstoppable and scenic art was a thriving business. From 1887 until 1882, Burridge  partnered with Thomas Moses (1856-1934) and successful art dealer M. Louderback to found Burridge, Moses & Louderback, located at the Columbia Theatre in Chicago. During less than two busy years, Burridge, Moses & Louderback stocked six theatres with all of the necessary scenery – no small task.  Unfortunately personality clashes between Burridge and Louderback ended the partnership; Louderback came from a “managing art” background while Burridge came from a “creating art” background. 

It was only a few years later, Burridge partnered with Ernest Albert (1857-1946), and Oliver Dennett Grover (1861-1927), to form “Albert, Grover & Burridge, Scenic and Decorative Painters” by 1891. Ernest Albert.  Albert and Burridge, both artists first worked for Harley Merry at the Park and Union Square Theatres in New York.  Albert, Grover & Burridge had a studio with over 12,000 square feet of working area, and another 2,500 square feet devoted to storage and sewing rooms. They had twenty paint frames, ranging from 56 by 35 feet to 30 by 20 feet.  The firm did a considerable amount of business for the World’s Columbian exposition of 1893, including the cyclorama, “Volcano of Kilauea.” Burridge traveled to the Hawaiian Islands, making a series of faithful reproductions to capture this natural phenomenon, with his final composition measured 54’ x 412’ and was also a major attraction at the Mid-winter Fair in Sacramento. Unfortunately for Albert, Grover & Burridge, their business venture went bankrupt in two years and Burridge was again on his own.

By 1900, Burridge was the scenic artist for the Chicago Auditorium and the Great Northern Theatre. He was also engaged by Henry W. Savage to prepare the scenes for the Castle Square Opera Company at the Studebaker Music Hall. We also know that Burridge designed the scenery for the premiere of “The Wizard of Oz” at the Chicago Opera House. 

In 1900, Horace Lewis recalled a visit with Burridge writing, “every object, from his devoted wife to the pictures upon the walls, and his den in the garret, is indicative of the genial, most modest nature and simple poetry of the man who finds his greatest wealth within that home.”

Burridge passed away during a trip to Albuquerque, New Mexico while visiting the area to sketches for the upcoming 1915 Panama-Pacific Exposition. His funeral was at Grace Episcopal Church in Oak Park, Illinois, although the family did not attend the church. One can only imagine the projects that Burridge could have accomplished had he lived beyond the age of fifty-six.

Know as “Wallie” to his close friends, he was laid to rest at Forest Home Cemetery on June 24, 1913. His son would join him at Forest Home Cemetery three years later after an accidental drowning at the age of 30. The family grave now contains Burridge, his son son Walter C. (1886-1916) and wife Jane Anne (1860-1938). After losing her husband and son in such a short span of time, Jane lived for another twenty-two years, passing away when she was of 78 years, 4 months, and 20 days old.

To be continued…

After Thomas G. Moses returned to Chicago in 1904, he exhibited a painting at Suydam’s drug store in Oak Park. Suydam’s was on the corner of Oak Park Avenue and South Boulevard, just a few blocks from Moses’ Oak Park home on S. Euclid Avenue.

An ideal location, the drugstore was right next to the railway that took commuters to downtown Chicago. In 1905, the “Oak Park Leaves,” reported, “Mr. Suydam is one of the honest, energetic business men of Oak Park, prominent alike in business and social circles. He came to Oak Park fifteen years ago from Philadelphia, where he was a graduate of the Philadelphia College of Pharmacy, one of the oldest institutions of the kind in the country. In Oak Park he is the successor of Gale & Blocki, and has not only maintained the reputation established by that firm but has earned the measure of success to which he has attained” (Saturday, June 17, 1905 – Page 30). Suydam would later sell his drug store and become an art dealer.

Moses’ painting on exhibit at Suydam’s was entitled “The Edge of the Wood.” The composition depicted a view on the Bronx River near New York.  The “Oak Park Leaves” published an article on his painting and overall notoriety as a talented scenic artist and designer. Although I have previously posted about much information presented in this article, now is an appropriate moment to pause and reflect on the life of Moses when he was 49 years old. As I just turned 50, this milestone birthday causes one to consider past choices and look toward future opportunities.

The 1905 “Oak Leaves” article began,  “T. G. Moses, Artist. Oak Parker Famous as Designer of Scenic Productions – excels in Forest Pictures” ” (15 April 1905, page 25).  Here is the remainder of the section about Moses:

 “Among the residents of Oak Park who are possibly more famous throughout the country than in their own hometown Thomas G. Moses of South Euclid avenue, whose fame as a scenic artist and designer of scenic productions is co-extensive with the theatrical world.  But Mr. Moses’ art is not confined to commercial lines.  He is a lover of art for art’s sake, and his leisure moments after many a hard day’s toil, are devoted to the painting of beautiful forest scenes in oil whose merits entitle him to a prominent place among the woodland painters of the country. His last picture, ‘The Edge of the Wood,’ presents a view on the historical Bronx River, near New York, and has been completed during the last month. It is now on exhibition at Suydam’s drug store on Oak Park Avenue.  The painting is a fine representation of Mr. Moses’ art, imbuing the viewer with that spirit of restfulness characteristic of the quiet old woods of the east, with the outside sunshine percolating in through the trees and softening into a gentle glow.

“Mr. Moses was born in Liverpool, England.  His early life was spent in Sterling, Ill, where he received his first instruction in drawing. When quite young, he took up decorative art with P. M. Almini & Co. of Chicago.  The head designer was Louis Malmsha, a famous scenic artist of that time, who became interested in the young man and made him his assistant.  This proved to be the making of Moses, as it placed him more in the line of work he wanted, landscape, forest interiors and mountain scenes, schooling him largely to the designing of drop curtains and scenic productions.  He is now of the firm Sosman & Landis, the great scenic artists of Chicago.  Mr. Moses has traveled quite extensively in this country, has been to California six times to do big scenic productions, such as Booth & Barrett’s Hamlet and Marie Antoinette and Macbeth and Mary Stuart for Modjeska.  During the past five years he and his family have resided in New York, where he designed and painted the scenery for the famous Florodora and Silver Slipper.  During the summers he sketched the beautiful scenery in the vicinity of Watkin’s Glen, and in the Catskills near Ellenville, N.Y. Two years ago he was admitted to the famous Salmagundi club of New York City, which has membership of their leading artists and sculptors of New York and many non-residents.  He has sketched forest from California, New Mexico, Arizona, Oregon and Washington.  But none appeal to him as the woods of the east, more quiet and restful, with the delicate birch and beach; a few oaks and moss covered rocks, with a small brook and plenty of sunshine.  His pictures are exhibited in New York twice a year.  For several years he painted in the studio of R. M. Shurtleff, the well-known painter of forest interiors, where he has secured valuable assistance.” By the way, Roswell M. Shurtleff is credited with the design of the confederate flag as he lay in a confederate hospital as a Union Soldier  (see “Tales of a Scenic Artist and Scholar” #448 and #449)

To be continued…

Thomas and Ella Moses began house hunting in Chicago at the beginning of 1893. A few months later, they selected a home in the western suburb of Oak Park, Illinois. The S. Euclid Ave structure was only a year old and spacious enough to accommodate four young children.  At thirty-seven years old, “Tom” and Ella had four children William “Pitt,” Mary Titcomb, Thomas “Rupert,” and Lillian Ella were ages fourteen, twelve, seven, and four. Moses was thirty-seven years old and at the top of his profession; life was really looking up.

Moses wrote that their new home had “very fine wood-work, a large stable, driveway, and a 60 x 178 foot lot.”  They bought the house for $8,575.00, today’s equivalent of $222,238.22, a substantial sum.  Although the amount was much more than the couple wanted to pay, Moses wrote that it appealed to them as no other one had. He had a perfect spot for a home studio with plenty of light. His studio was located in the attic with a high ceiling and ample room to hang pictures. 

Years later, his grandchildren would recall being told not to bother their grandpa when he was painting, yet they still managed to escape to the third floor.  Opening the attic door and venturing up steep steps, they were never reprimanded, just given a small project to keep them busy.

The Moses family moved into their new home on May 1, 1893 – the same day that the Columbian Exposition opened in Chicago.  Moses recorded that their new home provided plenty of room to entertain World Fair visitors. There are extant photographs that depict the interior of their Oak Park home. In one, Moses sits in front of an easel in his third-floor studio. Paintings, statues, masks, and art supplies surround him, capturing a moment in the life and times of Thomas G. Moses.  There was painted ornament in almost every nook and cranny of the home.

I have wanted to visit Moses’ Oak Park home since I first read about it.  The Oak Park and Forest Park area, suburbs located immediately west of Chicago, were home to many Chicago artists who commuted to the city. When my trip home from Philadelphia, I had the opportunity to pass through Oak Park and see the neighborhood.

Until Moses’ passing in 1934, Oak Park remained his home. The only time that he and Ella did not live in there was when they temporarily moved to New York from 1900 until 1904. Although they spent time on the West Coast too, Oak Park was the primary home to Ella and the children, hosting seasonal gatherings for family and friends. While living in New York for the four short years, Moses found renters for the Oak Park house. In 1900, he wrote, “I didn’t regret going east; but we did miss our Oak Park home.”

On the morning of July 19, 2019, I planned my drive to Moses’ home and a nearby cemetery. Moses’ one-time business partner, Walter Burridge, was buried in Forest Home Cemetery in the nearby suburb of Forest Park. As I pulled off at the Oak Park exit, I closely examined the houses as the navigational system directed my to S. Euclid Avenue.  I had already looked at the Moses’ home in Google maps, so knew the color and exterior of the home.

All morning I contemplated actually going up to the house, knocking on the door and introducing myself to the current owners. Risky move, as I was unsure of the area or the people that I may meet. Times are different and doors do not always open to reveal a smiling face. I realized that I would have to quickly explain that I was not selling a product or peddling any particular religion, before explaining my interest in their house. At least my visit wasn’t occurring during an election season.

As I walked up the front steps, it was hard not to think of the many artists who ascended these same steps throughout the duration of Moses’ life, his close friends who stopped by to chat or discuss an upcoming project. I recalled one particular instance when his close Palette & Chisel Club friends came over to examine the 300+ paintings in his attic studio, convincing him to do a one-man show.

When I reached the front door, I noticed to signs – “We still stand with Standing Rock” and “All are Welcome.”  I heaved a huge sigh of relief as all trepidation evaporated. I looked at the decommissioned doorbell and decided to knock, but not too loud. A chorus of dogs responded to my knocking, and then the door slowly opened.  I smiled at a woman about my own age and explained, “I’m not some nut off the street…”

Almost two hours later, I left the home.  As expected, I got teary eyed when I entered Moses’ old studio on the third floor. There is still so much history and such a wonderful energy about the space.  I can see why this would be the perfect paint studio for Moses or any artist. There is so much more to the story of my visit, but I can’t bring myself to share. For now, I just want to keep it close and reflect on both the details and newfound friends.

My grand tour ended with a cup of tea and a copy of her daughters’ music CD.  In exchange for the hospitality and gift, I left my copy of “The Santa Fe Scottish Rite: Freemasonry, Architecture and Theater.” One chapter includes a lot of information about Moses’ life and his work at Sosman & Landis. It was the least I could do, especially after my host invited me to stay at their home anytime I came to Chicago. The family is perfect fit for the Moses home.

There is that moment when fate intervenes and you encounter people who make your entire journey better, enriching your life, even if it is just for a moment.  I have been fortunate over the course of my studies and career to be repeatedly blessed with meeting so many positive personalities; they always overshadow any negative individual or situation that I encounter.  Stopping by the Moses’ old home and meeting the current residents was absolutely magical and made me reflect how lucky I am in my own journey.

To be continued…

When I place the Cleveland Scottish Rite within the context of many other Masonic buildings that have been sold over the past few years, I think of one particular line from the musical “Into the Woods” – “Opportunity is not a lengthy visitor.” Many Masonic buildings are being sold for a fraction of their worth and now is the time to invest if you have the funds.  Those buying these massive entertainment complexes have a strategy to turn a profit, a strategy that I wish the remaining Scottish Rite facilities would consider before selling.

Also, potential buyers are in a prime position when negotiating with a seller that is primarily composed of volunteers. For some reason, many Valleys have been told that their facility will be a “difficult” sell and to anticipate their being on the market for quite some time. Some realtors explain that Valleys should be prepared to accept less than list price and jump at the first opportunity of an offer.  This establishes a certain mindset for the seller, as they are tempted to take the first offer, even if it is well below list price, since the opportunity might not come again. This also sets up an ideal situation for an ambitious buyer. The best time to purchase a building is when property owners have fallen on hard times, are desperate, or have no hope of selling.

While contemplating the recent sale of the Wichita Scottish Rite, it is easy to see the many benefits for the buyer (https://www.kansas.com/news/business/biz-columns-blogs/carrie-rengers/article226976539.html). As much as I wish this were an altruistic act to preserve Masonic heritage, I doubt that is the case. I would love there to be an independent group snatching up Masonic buildings and keeping them safe for the future generations of Masons, ready to hand them back at a moments notice when the Fraternity can afford it again. Right now, these well-built and ornate buildings are ripe fruit, ready for picking by a canny investor. For any group specializing in live entertainment, it would be the perfect time to set up a theatrical circuit.

If I were a member of the Fraternity, I might see a perfect opportunity that could result in great monetary returns. As a Mason, I would immediately recognize declining membership and that many fraternal buildings are in a state of disrepair after decades of deferred maintenance. There will be dozens, if not hundreds, of Masonic buildings placed on the market in the near future. Unlike an old building that needs to be converted into an entertainment complex, many of these buildings are ready to host hundreds, if not thousands, of annual visitors.

Many of these buildings include theaters, banquet facilities, commercial kitchens, and ample parking lots. They are perfect for hosting weddings, social events, and touring productions. In fact, they have been successfully hosting these events for decades and are a well-known commodity.  In addition, these buildings are often landmarks, having been the focal point of many communities for over a century. Furthermore, the purchase of many Scottish Rite buildings comes with dedicated renters, a group whose identity remains integrally linked to the space.

For quite a while, I have considered various seller scenarios, if one particular group would begin purchasing Masonic properties and converting them into a string of entertainment venues, here is what I may do…

As an investor, I would establish an investment group to systematically target and purchase these buildings for less than list price. I would realize that this volunteer organization has a key group of individuals who really control each Valley. These are the people that I need to convince, getting them to repeatedly explain to their Valley that they need to downsize, or they will lose their building anyway. Hopefully these individuals will not take the “bull in the china shop approach” and draw too much attention when later placing their building on the market.

The same tactic will be implemented across the country so that it becomes the standard, framing it as a fiscally prudent choice to preserve their endowment (if there is one) and sacrificing their home to ensure a longer lifespan of a lodge. I would then make sure that each purchase was perceived as a generous act; not getting a great real estate deal, but helping Masonic orders stay in their homes for a while. As the new owner, I need to accumulate social capital, making sure each community see me as investing in local history while actively preserving the Masonic home.  

What would be the best way to accomplish my goal?  Insider information, specifically knowing which historic buildings would soon be on the market. I would need to know which Valleys were going under before the building hit the market, so that I could have everything in place and not appear to target any particular venue. Understanding the current state of various Scottish Rite Bodies would be beneficial. I would have a team in place, a team with almost unlimited resources to quickly renovate and market this entertainment venue to the general public.

The only problem may be some of the material culture in the building, such as a historic scenery collections, stage machinery, or other fraternal artifacts that may get in the way of my renovation plans. It would be best to get rid of any controversial items quickly and quietly, and this is easiest if there are no available inventories or lists. However, if the Scottish Rite Masons no longer need these artifacts for their degrees, or degree productions, it simplifies everything. If Scottish Rite degrees productions on stages are replaced with another form of instruction, the loss of a stage may not be a big deal. 

I highly doubt that there is a conspiracy to make a small number of men rich as the Fraternity declines, however, a pattern is starting to develop with the sale of these massive buildings.  Several generations of men helped build each Masonic home.  Now one generation of men may lose most of them.  I am curious to see who really owns the majority of Scottish Rite buildings in a decade. Opportunity is not a lengthy visitor.

To be continued…

I stopped by the Cleveland Scottish Rite building on my return trip from the League of Historic American Theatre’s national conference in Philadelphia. The venue has recently changed hands over the past two years and is under the operation of TempleLive, a group that is buying historic properties and using them as event centers. (https://www.templelive.com/). TempleLive is the subsidiary of the Beaty Capital Group, an investment firm with an interesting past. TempleLive’s most recent purchase was the Scottish Rite in Wichita, a significant loss for the Fraternity in terms of historical artifacts and material culture.

The Cleveland Scottish Rite has popped up on my radar multiple times over the past years, in both personal research and blog posts. It represents a single square in the quilt of American theatre history, as well as the life and times of Thomas G. Moses (1856-1934). I first made contact with Cleveland’s Scottish Rite secretary on my way to Cleveland. He was a very pleasant fellow. Although happy to meet with me, he could no longer show me the stage area, as the entire building was under the management of TempleLive.

The Scottish Rite Secretary shared the telephone number for the local TempleLive representative, urging me to schedule an appointment that day for a tour with her. She was very accommodating and graciously set a time to meet.  In addition to daily administrative duties, the local TempleLive manager is also part of the overhaul team, even painting walls and cabinets as part of the ongoing renovation work. In addition to implementing new color schemes, she negotiates the contracts with the Fraternity and is their key contact. Her immediate supervisor specializes in managing entertainment venues, the two previously working together on at  separate venue in Cleveland. She explained that the TempleLive protocol is hiring local individuals and maintaining a congenial relationship with the previous owner, now a dedicated renter.

Both the Scottish Rite representative and TempleLive host could not have been more gracious or accommodating during my visit.  They each spent an ample amount of time explaining the transfer of the building from the Fraternity to a private investor and the necessary renovations that needed to occur prior to using the facility for public events, particularly Live Nation events. Live Nation Entertainment advertises as a “Global Leader in Live Entertainment. Artist Powered. Fan Driven” with over 200 venues, 35,000 annual concerts, 4,000 touring artists, and 93 million fans in 40 countries (https://www.livenationentertainment.com/). They boast, “On average every 16 minutes there is a live Nation event starting somewhere in the world.”

It is my understanding that Live Nation is solely involved with the stage entertainment only and not the rest of the building. Live Nation recently installed new trusses for the secondary lighting system on the main stage. The old lighting system is still in place, but Masonic Bodies can use the new system for a substantial fee. With the continued flickering and blackouts during my stage visit, however, it is possible that the new system has problems. My TempleLive host explained that the light issues had been a problem since the new system was recently installed.  Hmmm.

Both of my hosts adamantly stressed the beneficial relationship between the Fraternity and TempleLive’s management, especially the generosity of the new owner allowing the previous owner to rent space in the building.  I could not help think that the arrangement may be most beneficial to the new owner as there is no preparation for a new tenant, or any period of vacancy waiting for rental income. Yet the spin is more of generous landlord helping out struggling tenant.

My hosts were friendly, inquisitive, and sharing, yet something seemed off.  In fact, as I walked through the building, I continued to experience a sinking sense of dread. It was the same feeling that I felt when the last painted setting left the Scottish Rite building in Fort Scott, Kansas; the soul of the space was gone. Interestingly, by the end of my two-hour visit, I still had no idea what happened to the historic scenery collection, who had removed the drops from the main theater or where they were currently stored. The backdrops went from “rolled up” to “in storage,” to “there may be a few still hanging.”  The cathedral scene may be hanging – smart move for weddings on TempleLive’s part. There was a framed photograph of the scene that the Scottish Rite Secretary shared during my visit and both hosts stressed the beauty of the painting.

To put this all in context, however, here is my current understanding of what TempleLive does when investing in a Masonic property. First of all, they target historic venues because of the construction quality and layout, an aspect stressed by my Cleveland host noting, “buildings just aren’t made like that anymore.” Paying a fraction of the building’s market value, the new owner ensures that the various Masonic orders meeting in the space still have access as renters. In the case of Cleveland, that the Masonic bodies have a base rental fee and are up-charged for a variety of services, such as using the “new” lights on stage. This is brilliant, because you not only get a good deal on real estate, but you immediately have dedicated renters who have no incentive to find another location. They are not going anywhere anytime soon as securing another location and moving all of the ritual paraphernalia is a deterrent.

So let’s start from the beginning as explained by my host… the building changes hands and TempleLive focuses on getting the stage/auditorium ready to sell seats for touring and local performers. This makes sense as it provides an additional revenue stream beyond the Masonic orders. TempleLive invests in the theater areas first. In the case of Cleveland, the $725,000 is paid for the building and 5 million was solely sunk into theater renovations, making it immediately ready for performances and additional revenue.  Again, the price was $750,000 for a historic building with 102,000 sq. ft. in a prime downtown location. Keep in mind, similar transactions have repeatedly occurred during the past decade, with Scottish Rite buildings changing hands to private investors for next to nothing, in some cases only $1. Yet almost all have the agreement that the Masonic orders can still meet in the building, often for a fee. After the theater is up and running, TempleLive focuses on renovating the remainder of the building. That is where Cleveland is at right now, moving onto the remainder of the building.

Now there is a second theatre space in the Cleveland Masonic building that has yet to be renovated. Some of the original scenery is still hanging.  We did not lower the historic scenes, so I have no idea if they were manufactured by Sosman & Landis in 1909 or Toomey & Volland in 1919. I took as many pictures of the stage machinery as possible. Sadly, I doubt that retaining any historic scenery directly benefits TempleLive. If anything, it is likely to be an impediment to their standard protocol in creating spaces for touring productions.

To be continued…

I stayed in Cleveland, Ohio, on my return to Minneapolis after the League of Historic American Theatres national conference in Philadelphia. In 1905 Thomas G. Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park.  Ed Thompson went with me and J. H. Young went to do the properties and papier mache work.” Moses had a long relationship with amusement park attractions and exciting projects with entertainment visionary Frederick Thompson. Luna Park in Cleveland, Ohio, opened in 1905 and lasted until 1929, when it was destroyed by fire. Constructed by Frederick Ingersoll of Ingersoll Construction Company, the park was located on a 35-acre site, bounded by Woodland Avenue, Woodhill, Mt. Caramel, and East 110^th Street. Four years later, Moses was working in Cleveland again. This time it was for a Masonic theater.

In 1909, Sosman & Landis delivered a new set of scenery to the Cleveland Scottish Rite Theatre. That year, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” Scottish Rite installations delivered by Sosman & Landis during 1909 included Masonic theaters in Dallas, Texas, San Francisco, CA, Cleveland, OH, Kansas City, KS, Winona, MN, and Atlanta, GA. Several months ago, I wrote about the Cleveland Scottish Rite and its recent purchase by an investment group that was targeting Masonic theaters. Here is a brief recap on the history and why I made a point of stopping at the Scottish Rite in Cleveland.

The Scottish Valley of Cleveland consists of a ten-county area in northern Ohio. The four Scottish Rite bodies include the Eliadah Lodge of Perfection, Bahurim Council, Ariel Chapter and Lake Erie Consistory. Before their move to their home at 3615 Euclid Avenue, the previous home to the Cleveland Scottish Rite bodies, was built in 1883 and located at Superior Avenue and East 6^th St.

Like many Scottish Rite Valleys during the early twentieth century, Cleveland’s membership dramatically increased, necessitating a new facility. Construction for a new Masonic building commenced during 1918. Interestingly, in 1919, Toomey & Volland scenic studio records indicate that they created scenery for the Cleveland Scottish Rite Temple. Ten years earlier, Sosman & Landis created the scenery for degree work in Cleveland. It is unclear how much of the original scenery may have been enlarged and moved to the new facility, if any.

After 1915, it was not uncommon for Toomey & Volland to underbid Sosman & Landis on Masonic projects, especially in the Northern Masonic Jurisdiction. However, even a second scenery collection delivered by a competitor would not preclude the retention of some original scenes for the new stage. Some favorite settings were simply enlarged and installed in the venue alongside the new scenery collection.

Keep in mind too, that many Northern Jurisdiction Scottish Rite installations were delivered by a scenic studio located in the Southern Jurisdiction (Toomey & Volland of St. Louis), and many Southern Jurisdiction Scottish Rite installations were delivered by a scenic studio in the Northern Jurisdiction (Sosman & Landis of Chicago). This may have been a calculated move for the scenic studio owners who were Masons, as working outside of their personal jurisdiction may have prevented any pressure on the studio owner to donate time, money, services, or goods.

Hubbell & Benes, the same firm that designed the Cleveland museum of art in 1916, designed the new Masonic Temple in Cleveland. The new fraternal complex was home to many Masonic Orders, including Scottish Rite, York Rite, Shrine, DeMolay, Job’s Daughters, Eastern Star, etc. The massive building covered 102,000 square feet of space, with a 2200-seat auditorium. Acclaimed for its acoustics at the time, the Masonic Temple was even home to the Cleveland Orchestra for a decade, before their moving in 1931 to Severance Hall.

As with many other Masonic buildings of this scope, the Valley cited declining membership after World War II and escalated expenses from deferred maintenance when they put their building on the market in 2017. The corporate secretary of the Cleveland Scottish Rite admitted that it cost $400,000 a year to maintain the building, “an outlay that would soon exhaust the operating endowment.” Keep in mind that the endowment is now used for rent paid to the new owners). Cleveland’s Masonic building is listed on the National Register of Historic places, so the property is eligible for preservation funding including state and federal tax credits.

Nearly one hundred years after construction began on the Masonic Auditorium in Cleveland, it was sold to a private developer. The affiliate of Arkansas-based Beaty Capital Group, Inc. paid only $725,000 for the entire complex on March 31, 2017. TempleLive, a subsidiary of Beaty Capital Group is the same company that purchased the Scottish Rite in Forth Smith, Arkansas, and most recently, the Scottish Rite in Wichita, Kansas. They also attempted to purchase the Zembo Shrine building in Harrisburg, Pennsylvania during January 2018.

In Cleveland, Fort Smith and Wichita, the Fraternity will never be able to afford the expense of constructing anything comparable. In many cases, the materials and craftsmanship necessary to build these types of buildings are often no longer available. It is the future generations of Masons who lose in the end, as they are the ones who will never experience the space, or the physical sense of heritage. The buildings were planned and constructed by men with vision.  It also takes vision to contemplate how these venues can be saved and marketed. The winners are those who purchase these jewels for pennies on the dollar.

I was curious to see how a Masonic building was operating under the direction of Templelive, hence my stop. More on my experience at the Cleveland Scottish Rite tomorrow.

To be continued…

In 1991, I encountered a series of Scottish Rite scenic designs with “Camden, NJ” written on the back. This was while I was processing the Holak collection for the University of Minnesota Performing Arts Archives as part of an Undergraduate Opportunities Program grant. The Holak collection was the second of two Masonic scenery collections that I processed between 1989 and 1991.  The Holak collection included a variety of designs created by “Sosman & Landis” and their eastern affiliate “New York Studios.”

By 1992, I journeyed to the East Coast for the first time, newly engaged and visiting my fiancée’s family in Delaware. Unfortunately, there never seemed to be any opportunity to track down the Camden Scottish Rite, so it sat on the back burner for a few decades until this month.

Over the years, I would think of the Camden designs every time we visited friends or family in New Jersey. Opportunity finally presented itself while I was attending the League of Historic America Theatres national conference in Philadelphia.  I was on my way back to New Jersey with our eldest child’s godparents when we decided to stop by and take a look.  I had not scheduled a visit or checked if the building would even be open, just hoping to catch a glimpse of the fly tower. The Collingswood Scottish Rite was only two blocks away from the Camden city line and bustling with activity when we stopped.

There were cars in the parking lot and many exiting the building – score!  This meant that I might be able to venture in far enough to see the lobby, and possibly the theater.  Unbelievably our arrival coincided with the break between the matinee and evening performances of “Seussical” – not by the Masons, but by a local community theater group. Although, the idea of a Masonic version of “Seussical” does make me giggle – “Oh, the Thinks You Can Think!” But I digress…

Once inside the building, I met with an enthusiastic woman who eagerly listened to my connection with Masonic theater and then introduced me to Mary, the woman in charge. She was also delighted to hear my history about Scottish Rite scenery and promptly offered us a tour of the stage, patiently waiting while I climbed up to the fly gallery. “Seussical” had not been presented in the theater due to lack of central air. Instead, it was being presented in the only air-conditioned space below- the banquet room.

After examining the toasty auditorium and stage, we wandered up to another room where some of the backdrops were stored. I would later learn that local riggers working touring shows at the Collingswood Scottish Rite demanded the removal of the historic drops. All this seems very odd and I sincerely hope that I have misunderstood the chain of events leading up to the removal of the scenery.  In the end, some of the scenes were gifted to the community theater for productions. The gifted drops have been repaired and repeatedly used in local theatre productions.

Without being able to unfold any of the drops, or see a stage book, I had no way of knowing if the Holak designs were ever realized for this particular venue.  The designs may have simply been for a preliminary proposals.  My host suggested that I contact the Scottish Rite Secretary the next week and meet with him, specifically asking to see the stage book.

It was not until after the conference ended, that I returned to the Scottish Rite, scheduling a meeting with the Scottish Rite secretary and bringing a few LHAT friends. I enjoyed a second tour of the theater before examining the stage book and chatting with the Scottish Rite representative. Before the scenery collection was removed, each backdrop had been photographed and placed in a packet, noting the original line sets. As I slowly flipped through the packet, I recognized many of the compositions from the Holak collection.

Although the scenery collection is folded up and in storage, it still exists – for now.  There is also a greater possibility that the historic backdrops may avoid a final resting place in a dumpster if there is any perceived value of the artifacts; I did my best and even left a copy of “The Santa Fe Scottish Rite Theatre: Freemasonry, Architecture and Theatre” for the Scottish Rite Valley library.

The history of the Collingswood Scottish Rite complex is quite unique and fascinating. The Masons purchased the parcel of land with the intent of leveling the existing 1850s mansion that remained on the property at the time of sale. At some point, plans changed and the mansion was not leveled, just abbreviated; the front portion was left standing to be used as Scottish Rite offices. The new theater building was then connected to the back of the old mansion.   

Recently, the Scottish Rite sold its building to the city, reserving the right to maintain the offices and use the lodge room.  This arrangement is becoming more common across the country, as Scottish Rite Valleys sell their buildings for pennies on the dollar and negotiate with the new owners to still meet in the space. I remain unsure as to how much the theater is used for Scottish Rite degree productions, if it is used at all. Remember that the Northern Masonic Jurisdiction has mostly transitioned from degree productions to video presentations for instruction. The Collingswood Scottish Rite auditorium hosts a variety of touring shows, including an upcoming performance by Pink Martini, my new favorite musical ensemble. The current bookings at the Collingswood Scottish Rite remain limited to spring, fall and winter due to the lack of any central air. 

To be continued…

On July 17, League of Historic American Theatre (LHAT) conference attendees toured the famous Walnut Street Theatre. Located at the corner of Ninth & Walnut Street in Philadelphia, the theater opened its doors on February 2, 1809. Initially the structure featured a ring for equestrian acts. Initially built for the Circus by Victor Pepin and Jean Breschard, over the course of two centuries, the building underwent many renovations. The building was initially enlarged between 1811 and 1816, transitioning from a circus arena into a legitimate theatre with elevated stage. Remodeled again between 1827 and 1828, gaslights were added in 1837 and air conditioning in 1855, an American first for both. By 1863, Edwin Booth and John Sleeper Clarke purchased the venue, initiating a new era under their leadership. Throughout the duration of the 19^th century and well into the 20th, the Walnut Street Theatre underwent a series of renovations, including multiple scenery purchases.

The LHAT tour in July coincided with Walnut Street Theatre’s summer camp. Seated in the second to last row of the auditorium, I watched young performers below on the stage. It reminded me of our eldest child’s summer camp program at the Wilma Theatre, an annual gift from generous godparents who lived in New Jersey. These were the same friends that I stayed with during the conference this year.

There is something very heartwarming about watching young children on a very old stage, as they become part of the theater’s legacy. With these future thespians in the background, our animated host explained the history of the building. The Walnut’s website also does an amazing job at presenting the past. Here is the link: https://www.walnutstreettheatre.org/about/history.php

Despite the gracious welcome by Walnut Street Theatre staff, I was very disappointed with the current interior, somewhat reminiscent of a grey shell.  I understand that the interior aesthetic of many theaters shift over time, their interiors constantly being re-envisioned by a variety of personalities. It is unusual for a theater to remain its original glory, exact in every detail. I understand the push for change or modernization of any space. However, I should have prepared myself for the Walnut Street Theatre before my visit. Over the past few years I have repeatedly written about the variety of artisans that contributed to the Walnut’s past, primarily focusing on scenic contributions. Whatever I had been expecting to see was not the current decor. I really didn’t have the heart to take any pictures of the space, a first for me. The stage was also unavailable due to summer camp, an element that I had really hoped to see.

Fortunately, images from the venue’s past were prominently displayed everywhere. The hallway behind the balcony contained a variety of images ranging from performers and shows, to historic floor plans and broadsheets.  Blurry images that I have repeatedly encountered online were hanging in their full-scale glory. For that alone, the trip was worth it.

One of the artistic contributions by a scenic artist was mentioned in an 1894 “Philadelphia Inquirer” article. A drop curtain by scenic artist Matt Morgan was installed in 1877.

Here is the section about Morgan’s drop curtain at the Walnut Street Theatre:

“The drop curtain at the Walnut Street Theatre is strikingly different from any other in town. It is skillfully painted to represent silk, and appears to be made of sixty-four squares of white silk deftly sewn together, on which, in a large oval in the center of the curtains is painted a charming picture, representing Shakespeare reading his play, “The Merry Wives of Windsor,” before Queen Elizabeth. It is known as the Shakespeare curtain, and was painted by that versatile artist, Matt Morgan, in 1877. Matt Morgan, now deceased, was a prominent figure in the art world. Though born in Ireland, he was educated in London, and worked on a number of illustrated papers. He was also a figure artist of marked ability, but was unsuccessful in his business ventures. The curtain was first unrolled September 10, 1877, and shows none of the effects of the seventeen years of constant use. Through the oval occupies less than a third of the square surface of the curtain, it contains more than a score of personages. The aged queen, habited in a robe of yellow silk with pointed bodice of coquelicot satin, puffed sleeved trimmed with velvet and an enormous white lace collar and lace cuffs, is seated upon a throne surrounded by courtiers, pages and attendants, while she listen with rapt attention to the reading of the play” (Dec. 18, 1894, page 45). 

A celebrated scenic artist and caricaturist, Morgan was an Irishman trained in London. The favorite pupil of well-known artist Clarkston Stanfield, in 1866 Morgan was working as an assistant to Thomas Grieve at the Covent Garden Theater in London (The Era, 23 Dec. 1866, page 8).  By 1870, Morgan immigrated to America, soon making a name for himself as an illustrator at Frank Leslie’s Illustrated paper. He became a rival of Thomas Nast, the German-born caricaturist and editorial cartoonist (Reading Times, 12 Oct, 1876, page 4). Before immigrating to America, however, Morgan worked as a cartoonist for “Tomahawk,” a weekly comic paper during the 1860s. Later Morgan became the head of the art department of the Stowbridge Lithographing Company in Cincinnati. In America, Morgan worked as both illustrator and scenic artist all across the country, and by 1875, a Chicago newspaper article described Morgan as “far above the ordinary level of scene-painters” (Chicago Tribune, 14 Feb 1875, page 10).

In 1886, Morgan organized a scenic art company in Cincinnati, Ohio. The company was to “present a series of accurate and historic pictures of the decisive battles of the late war between the states. These great pictures, now approaching completion for the northern victories, are to be exhibited throughout the country under the directions of competent lecturers; well known officers of both armies” (The Pulaski Citizen, Pulaski, Tennessee, 12 Aug. 1886, page 2).

Newspapers report that Morgan died of pleurisy, brought on by his work at the new Madison Square Garden (Logansport Reporter, 3 June 1890, page 3).

By 1905, the “Pittsburgh Daily Post” described one of Morgan as a “forgotten artist” when his work was exhibited at the 1905 Scene Painters’ Show. Held at the Grafton Galleries by the Scenic Artists association, the exhibit featured Theater Artists of Great Britain, including cartoons by Morgan. (14 May 1905, page 26).

To be continued…

The Forrest Theatre tour took place on the final day of the League of Historic American Theatres National conference in Philadelphia. The LHAT program noted, “The Forrest is a quintessential ‘road house’, used primarily by touring theatre and dance companies. It was built in 1927 to compete with rival A.L. Erlanger’s planned new playhouse at Market and 21st Streets. The Shuberts intended the new playhouse–named after Edwin Forrest, the great Philadelphia born tragic actor of the nineteenth century–to surpass Erlanger’s new theatre in terms of size and splendor.”

Costing over $2,000,000, the structure was designed by architect Herbert J. Krapp. The space boasted wider seats in the orchestra and modern ventilation and electrical systems. Interestingly, the dressing rooms are housed in a separate building, connected to the stage by an underground tunnel. Theater representatives explained that the reason for this layout is still unclear.

In the 1990s, renovations included redecorating the grand lobby and accessibility improvements. By 2017, the auditorium and mezzanine lounge underwent extensive redecoration, as well as improvements to air conditioning and heating systems. During our visit, there was still work being completed and much was draped in plastic.

During our tour, we learned that the painted fire curtain had also been recently removed. Our tour guides explained that the painting was stunning, but then proceeded to cite the reasons for its removal. I understand that in many cases, encapsulation of an asbestos curtain may be cost prohibitive. When contemplating restoring an auditorium to its original splendor, millions of dollars will be spent. Yet often the original drop curtain, a painted element that often completed the auditorium’s décor, is left out of the conversation.  I am fascinated with this omission.

As I contemplated the funds spent on the Forrest Theater’s auditorium and mezzanine lounged, I wondered why stopping at the proscenium opening was optional. After all, this is the focal point of the theater that every person faces while waiting for a show.

When I walk into a historic theater, or any theater for that matter, I look around the auditorium to briefly examine the space. This often occurs while trying to locate my seat. Even if I am fascinated with the architectural ornamentation, seldom do I stop, as there is often a stream of people behind me also navigating their way to a seat.

Once seated, I take in the space, to my right, left and above. Turning around to see the complete auditorium will often wait until my exit.  Even the most ornate auditorium will not cause me to sit starring at the ceiling for extended periods of time while attending a performance.  Like many, if not looking at my program or chatting with a companion, I will face the proscenium and patiently wait for the show.  I like to think that I am not an anomaly and that my experience is similar to many who have attended the theater over the decades. As audience members, we face forward while waiting for a performance to begin.  All told, a substantial amount of time is spent facing the proscenium opening. I can only hope that a painted front curtain, fire curtain, or decorative grand drape is filling that void.  This is an integral part of the theatre experience. One may even note that whatever is hanging in the proscenium opening may be the pinnacle of the pre-show experience.

The 1894 newspaper article, “Well-known Drop Curtain in Philadelphia Theatres,” reported, “It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.” (“The Philadelphia Inquirer” on Dec. 18, 1894).

To be continued…

The second historic theater visited by League of Historic American Theatres members during the National conference was the Merriam Theatre. The LHAT program noted, “The Merriam Theatre, formerly the Sam S. Schubert Theatre, is Philadelphia’s most continuous location for touring Broadway show theatre. It is located at 250 South Broad Street within the Avenue of the Arts cultural district of Center City, Philadelphia. The Schubert Organization built the theater in 1918. In 1972 the theater came under the ownership of the Academy of Music, and was owned by the University of the Arts. In November 2016, it was purchased by the Kimmel Center for the Performing Arts.”

On March 30, 1918, the “Evening Public Ledger” reported,

“Plans for New Schubert Theatre.

“Theatrical patronage has recovered bravely from the melancholy slump which afflicted it last December. It weathered the fuel administration’s ruling and it has even experienced a rather lively ante-Easter period. And now, despite the war, there are definite prospects for additional footlight activity in this city.

“The handsome Schubert Theatre, under construction on the former site of the Horticultural Hall, is scheduled from completion on May 10. There are rumors that the daring venture of giving summer musical plays in Philadelphia may be made. The plans have not yet fully matured, but it is asserted on reputable authority that the new house will be opened as soon as it is finished. The initial attraction may be “Maytime” or the new Winter Garden potpourri, “The Passing Show of 1918.”

“Less frivolous offerings will, of course, be presented there when the regular season is on, and by next autumn eight so-called “first-class” theatres will be in operation here for the first time in the city’s history. This figure can be swelled to eleven if the Little Theatre, whose policy has lately been variable, and the Academy and the Metropolitan, devoted to music, are included” (Philadelphia, page 10).

To be continued…