Month: October 2019

In 1912, Thomas G. Moses wrote, “Kilroy and Britton have been stocked up with a lot of drops for two shows similar to ‘Cow-Boy Girl.’”

That year, Sosman & Landis delivered scenery for “The Candy Kid” and “The Millionaire,” each produced by Will Kilroy and Mae Britton.  Kilroy and Britton were well known for their melodramatic musical plays, such as the “Cow-Boy Girl.”

In 1898 “The Daily Item” described Kilroy and Britton as “refined sketch artists with their catchy and entertaining illustrated songs” (Sunbury, Penn. 15 March 1899, page 4). The couple performed with the Forrister & Floyd Combination Co., marketing themselves as original illustrators of humorous songs, with early burlesque performances including “Getthemoneygraph.” Kilroy and Britton were also featured with the touring production “Heart of Chicago.”  By 1903, the comedy duo transitioned from burlesque acts to a full-scale musical production. They starred in the successful comedy drama by Lem B. Parker, “An Aristocratic Tramp.” Their partnership with Parker became the key to their success as theatrical producers. At the time, Parker was the well-known author of “For Home and Honor,” “A Quaker Wedding,” and “The Sinking City.”

 “An Aristocratic Tramp” was billed as a “marvelous comedy success,” with an “exciting automobile race and explosion” and “the most realistic rail-road scene ever produced” (The Republic, Columbus, Indiana, 24 Nov. 1903, page 6). The show was also noted as a distinct departure from many other plays at the time. (Belvidere Daily Republican, 14 Aug. 1903, page 6).

Their second hit was “The Cow-Boy Girl,” advertised as a melodramatic musical play. In 1906, the “Marion Headlight” reported, “When Kilroy and Britton consulted Dr. Lem B. Parker, (the prominent playwright) to ascertain and diagnose the public’s needs in the way of theatricals, he immediately came to the conclusion that something new, original, worthy, and worth the price of admission, was the proper thing, so he prescribed ‘The Cowboy Girl,’ a play with music, comedy and a melodramatic atmosphere, that sent the audience home glad they went and feeling ‘The Cowboy Girl” is worth going miles to see again” (Marion Headlight, 1 Nov. 1906, page 5). A 1912 article in “The Gazette” explained, “‘The Cow-Boy Girl’” is not exactly a melo-drama; yet it embraces all the vigorous realism, absorbing interest and sentimental beauty of one. It is not a musical comedy, though it possesses the rollicking dash and swing of one.” (The Gazette, York, Pennsylvania, 20 Jan. 1912, page 5). Advertisements promised, “10 Big Song Hits – Breezy Music – A Bevy of Pretty Girls – 20 People – 20,” as well as bucking broncos on the stage (“Daily Times, Davenport, Iowa, 27 March 1912, page 17).

Newspaper articles attributed Kilroy and Britton’s success to Parker’s understanding of theatergoers, commenting, “The theatre is first, last and nearly always a place of amusement. Nine-tenths of all theatergoers of today go to the theatre to be entertained and for no other purpose. A part of the tenth go to be instructed, but their number is so small it has no bearing” (The Gazette, York, Pennsylvania, 20 Jan. 1912, page 5). Theatergoers who sought amusement yielded the largest profits to theatre manufacturers, greatly benefitting those ranging from suppliers to booking agents. Kilroy and Britton had stumbled across a magical formula that resulted in their success over a decade, with many of their stage plays becoming popular films.

When Sosman & Landis delivered scenery for “The Candy Kid,” the “Daily Tribune” reported that the show was “a musical attraction of known merit” (Wisconsin Rapids, Wisconsin, 25 Sept. 1912, page 1). Premiering at the Yorkville Theatre in New York during the fall of 1907, “The Candy Kid” was still on tour in 1912, visiting Daly’s Theatre on Sept. 26. The show’s plot involved a feud between rival candy store owners. The touring production of the “The Candy Kid” starred Jack Rollens and was advertised as having “10 song hits that make you whistle” (The Times, Munster, Indiana, 27 Sept. 1912, page 2).  Musical numbers included, “The Past, the Present and Future,” “Bye, Bye, Dreamy Eyes,” “Hark the Scream of Eagles,” and “Parodies.” The show successfully played to audiences across the country for five consecutive years, and this constant demand necessitated new scenery as older sets began to deteriorate.

The second Kilroy and Britton show that used Sosman & Landis scenery in 1912 was “The Millionaire Kid,” featuring Ray Raymond. After a successful first run, the producers created a vaudeville version for tour.  On January 20, 1912, “The Daily Times” announced “Kilroy and Britton have put a condensed version of ‘The Millionaire Kid’ into vaudeville”  (Davenport, Iowa, 20 Jan 1912, page 11). Advertisements promised, “Pretty Girls – Catchy Songs – a Thousand Laughs – Carload of Special Scenery – Dazzling Electrical Effects” (Fort Wayne Daily News, 18 May 1912, page 4). Moses was responsible for designing the “special scenery” and “dazzling electrical effects.”

To be continued…

Both origins and people are forgotten over time and histories take on a life of their own. What was once important to Scottish Rite Masons a century ago may not be important to the current generation of stewards.  As I examined the history of Scottish Rite theatre in Portland, Maine, one particular article caught my attention. It concerned the artist who painted the auditorium murals, making headlines in 2017. This was only two years after Sarah Bouchard was appointed artistic director of the building. Here is a link the 2015 article: https://thebollard.com/2015/04/01/welcome-to-the-masonic-temple/. The article included a picture of the  Scottish Rite auditorium during a degree production with the headline “Welcome to the Masonic Temple, Freemasons open their sacred space to the arts.” The 1911 building was described in detail, including the first floor Scottish Rite Reading Room, the second floor Corinthian Hall, the third/fourth floor auditorium and fifth floor Eastern Star Hall.  As with other Masonic buildings, a host of small meeting areas and lodge rooms were also mentioned. In 2015, there was an interest to preserve not only the architectural ornamentation in the Scottish Rite, but also many artworks, especially the auditorium murals.

Early in 2017, the Portland’s Scottish Rite Masons decided to restore and preserve the murals for future generations, recognizing that the images had darkened under 77 years of accumulated dirt and varnish. The Maine Project for Fine Art Conservation was brought into work on the paintings. Every Thursday during the summer  of 2017, MEAC conservators worked on the paintings high above the auditorium floor.

Let’s look at the big picture. The murals were installed almost three decades after the stage scenery was designed, painted and delivered to the Portland Scottish Rite. Since the building opened, the main feature of the auditorium was the stage work.  The addition of murals was similar to a makeover.  This was common. For many Scottish Rite theaters between 1940-1960 members tried to update their spaces.  New scenery, new costumes, improved lighting systems, new seating, or a fresh coat of paint became a priority. Just like those who introduced the stage elements to Scottish Rite ceremonies, a new generation again attempted to improve the ritual experience. The problem remains that Scottish Rite stage settings are seldom considered large-scale artworks by nationally recognized artists.  Too often, the membership perceives a scenery collection as mere backings for degree work. Just imagine if the artists who painted Scottish Rite settings received the same attention as those artists who decorated the auditorium.

The Portland Scottish Rite auditorium murals were credited to fresco artist Harry Cochrane. A Maine artist, Cochrane was 80 years old when he completed the 17-foot murals in his Monmouth studio during 1940.  Cochrane’s artistic contribution made headlines in 2015 when conservation work commenced, prompting renewed interest in his work. Linda Johnston, who specializes in Cochrane, described the life of this “untrained” artist in a BDN Portland blog article on August 18, 2017. Cochrane was born in 1860, Johnston explained, “He taught himself to draw and paint,” covering his father’s ledger books with drawings of horses and human faces as a boy. As he matured to adulthood, he became a decorator, focusing on religious edifices, schools, municipal offices and other buildings, such as Masonic Temples. Cochrane also designed fancy plaster moldings, stained glass and furniture.­ Here is a link to read more about Cochrane: http://portland.bangordailynews.com/2017/08/18/history/painters-final-works-kept-hidden-in-downtown-portland-for-77-years/

Scottish Rite buildings contain a wealth of significant artifacts ranging from rare books and documents to decorative painting and fine art works. But the scenery is especially significant and often created by nationally  recognized fine artists. When examining color, composition, technique and the artistic provenance for many stage settings in Masonic edifices, they should not be discounted as “old drops” or mere stage backings; they are large-scale artworks. Furthermore, they often have more artistic provenance than many other artifacts in the building. However, as time slips by, the historical significance of Scottish Rite scenery is forgotten, even in Portland. Portland’s Scottish Rite Masons decided to restore and preserve the Cochrane murals for future generations; a fantastic choice as they look toward the future. Will their scenery for degree productions receive the same consideration?

To be continued…

In 1912, Thomas G. Moses wrote, “More Masonic work for Portland, Maine.” There are two Portland Scottish Rites – one in Oregon and one in Maine. In 1902, Sosman & Landis delivered scenery and stage machinery to Portland, Oregon.  A decade later, they delivered scenery and stage machinery to Portland, Maine.

The Scottish Rite auditorium in Portland, Maine, is located on the corner of Congress and Chestnut Streets. The theater, located on the third and fourth floors of the building, has a seating capacity of approximately 400.

As with other Scottish Rite Valleys, Portland suffered from declining membership and increased building expenses by the end of the twentieth century.  When faced with difficult choices, they tried something unique in 1989, selling the front half of the building; the portion containing retail and office space.  This proved to be an unwise move, as the stream of revenue generated from the front half of the building needed to operate the back half of the building was lost. The money received from the sales was not a long-term solution.  Without the much-needed monthly revenue, it became a struggle to address deferred maintenance and repair the building’s infrastructure. The Portland Scottish Rite then put the back half of the building on the market, but no one was interested in purchasing their portion of the historic venue. They decided to contract with Saco-based catering company Blue Elephant, allowing the firm to book events in the Temple’s first floor rooms.

About this same time, the Portland Scottish Rite Masons allowed Sarah Bouchard to assume the role of  “artist in residence,” giving her space on the fifth floor. Previously, the fifth-floor space housed the Order of the Eastern Star Hall and a ladies’ sitting room. Bouchard became the Temple’s first-ever artistic director, working in tandem with the Masonic Temple Foundation – a separated non-profit formed to raise funds for the building’s restoration. Although no longer with the organization, she had the right vision to save the building for future generations. Bouchard was quoted in a 2015 article posted at the Bollard, saying, “I’ve done my research. The Masonic temples that fail are the ones that don’t engage the public.”  Bingo.

Where there is a will there is a way, and Bouchard advocated to open the temple up for artistic and cultural programming. Bouchard noted that this move was “in alignment with the phenomenal grandeur and integrity of the space. She stated, “I wanted to establish a dialogue between contemporary visual and performing arts and the ideals of Freemasonry and the history of the space.” What a great idea; this is really a model for struggling Masonic buildings.  Embracing the public and hosting events is nothing new to Scottish Rite Masons, and now it is their only way to survive. Even when the Masons don’t figure this out, the new owners of a Masonic building often do.

Bouchard’s vision took hold, and the space is now advertised as “The Portland Masonic, Event and Wedding Venue.” Portlandmasonic.com is a pretty remarkable web site, linking the Fraternity with the community, but it took hiring a person with vision.

Here is one paragraph from Portlandmasonic.com:

“Built in 1911 and listed on the National Register of Historic Places, The Portland Masonic has been reimagined and reborn as one of the premiere event spaces in New England. Featuring some of the most visually alluring and exquisite spaces on the East Coast, and located in the heart of historic downtown Portland, you’ll find The Portland Masonic to appeal to the most discerning of guests. The Portland Masonic is still home to several active Masonic organizations, dating back to the 18th Century, and some of Maine’s famous Masons include Governors, Naval Commanders, Attorney Generals, Supreme Court Justices, and International Diplomats. Built with the purpose of community involvement, we’ve reinvented our space as one filled with every kind of event – corporate, social, weddings, theatre, nonprofit and so much more –  with our community at the heart of what we do. We invite you to step into one of the most distinctive and architecturally interesting spaces, and feast your eyes on the years of craftsmanship, details and texture that surround you inside our magnificent building.”

To be continued…

J. C. Becker & Bro. scenic studio became a major competitor to Sosman & Landis in the twentieth century. John Carl Becker was born on April 4, 1881, Boonville, Indiana. He and his younger brother Raymond were two of seven children born to German immigrants August Becker (1850-1931) and Louisa Elizabeth Holtworth (also Holewarth). The couple was married on March 17, 1875, in Warrick, Indiana and celebrated the birth of their seven children from 1876 to 1891:  Amelia (b. 1876), Gussie (b. 1877), August Jr. (b. 1878), Otto L. (b. 1879), John C. (1881), Frieda E. (b. 1885), William S. (b. 1887) and Raymond H. (b. 1891).

August Becker Sr. was born in Idar-Oberstein and moved to the United states in 1857 at the age of seven. The 1880 census lists August as a Marble dealer, but over the years, he held many positions, including a driver and common laborer. His wife, Louisa Hawtin, was also of Germany descent. Her parents Alma and Mary Hawtin were from the area of Baden Germany.

After the marriage of August and Louisa Becker in 1875, all of the Becker children were born in Indiana. The family later moved to St. Louis, Missouri, were many of the siblings grew to adulthood, some discovering careers in the field of popular entertainment. It was in St. Louis that both John and Raymond first became scenic artists. On April 4, 1902, “The Times” noted that John C. Becker was working as an assistant to scenic artist Mr. Charles E. Boss for Mr. R. L. Griffith’s stock company­­­ in Richmond, Virginia (page 2). He was twenty-one years old at the time.

John soon established his scenic art firm. In later years, company letterheads would credit J. C. Becker and R. H. Becker as the two founders in 1903, but Raymond was only 11 yrs. old at the time. The highest level of education completed by John was 7^th grade; he stopped school at the age of thirteen in 1894. Raymond remained in school until 8^th grade, lasting a year longer than his older brother.

As adults, both of the Becker brothers were similarly described in their WWI draft cards – tall, with medium build, blue eyes and brown hair. Each was listed as a scenic artist, but held different roles in the running of the company. In later years, John was in the studio and Ray was on the road, leading the installation teams.

By 1907, John was becoming well-known as a Chicago scenic artist. There was no mention of J. C. Becker & Bro. yet.  “The Joliet News” noted that Becker was providing the scenery for the Grand Vaudeville Theatre in Joliet, Illinois” (Joliet, Illinois, 10 Aug. 1907, page 9). Manager Goldberg was having the entire scenery of the theatre repainted by “outside talent.” The article reported, “John C. Becker, a professional scene painter of Chicago, is doing the work. When it is completed it is safe to say that there will be no flies on the flies at the Grand, nor the drops…Mr. Becker is a scenic artist of ability and is in much demand. He has done work for all the big theaters in Chicago. This is the artist who painted all the scenery for the Umpire, at the La Salle, and for ‘The Time, the Place and the Girl”; for “The Prince of India,” “The District Leader,” and large numbers of others.”

It appears that marriage and children drew Becker briefly back to St. Louis by 1910 and this is likely when J. C. Becker & Bro. first began as his younger brother was now 19 yrs. old.  John, his wife Maud (nee Hawtin, b. 1881), and their two small children were living at his in-laws. Other residents at Granville Place, included Maud’s sister and brother-in-law, Isabella and Alfred Reeves. Raymond Becker was still living at home with his parents.

By 1912, John and Maud had three small children, Ormonde (age 7), Ellsworth (age 3) and Ardith M. (newborn). Interestingly, when John and Maud moved to Illinois by, the grandchildren stayed with their grandparents in St. Louis. At the time, the children were 15, 11, and 8 yrs. old. The 1920 Census lists the couple as living alone at 819 Eighth Ave in Proviso, Illinois, near Chicago. Ten years later, two of their three adult children were once again living at home.  By this time, Ellsworth was 20 yrs. old and Ardeth M. was 18 yrs. old. The occupation for each child in the 1930 census was listed as “student;” they continued their secondary education in Illinois. 

The 1920s were a busy time for the Becker brothers as they secured numerous painting contracts, competing with at least eleven other scenic studios in Chicago by 1927. Some of their Chicago competitors at the time included Acme Scenic Studios (2919 W. Van Buren St.), Eugene Cox Studio (1734 Ogden Ave), Robt. P. Carsen Studios (1507 N. Clark Street), Charles L. Hoyland Co. (2919 W. Van Buren Street), King Studio (2215 W. Van Buren St.), Sosman & Landis (416 Kedzie Ave.), McVicker Curtain Co. (2436 Sheffield Ave.), Emil Neiglick Studio (4557 Woodlawn Ave), Chicago Civic Opera (2559 S. Dearborn St.) Pausback Studio (3727 Cottage Grove. Ave). and William Lemle, Inc. (417 S. Clinton). 

During the 1920s and 1930s, John’s focus remained on design and painting, while Raymond’s focus was painting and installation.  One partner in the shop and one partner on the road was a magical combination, spelling success to many firms including Sosma & Landis in the beginning. It often took two people to successfully run a business, juggling all of the balls. In 1929 their business letterhead advertised “John C. Becker & Bro. Artists. Scenery for the Stage.” During this time, John was living in Proviso, Illinois, where he will remain for the next twenty-six years (819 S. Eighth St.). Raymond was living at 815 19^th Avenue in Maywood, Illinois with his wife Ruth 9 (nee Magenheimer) and their three sons, Burton (age 17), Russell (age 11) and F. Raymond, (age 6).  Raymond’s family later moved to 7237 Jackson Boulevard in Forest Park, Illinois, Interestingly, it was only Raymond’s children who entered the family business; Burton, Russell and Ray Jr.; they were all listed on company payrolls between 1932-1934. It must have been a great help during the Great Depression.

In 1934, John had achieved Masonic fame and was advertised as a “Scottish Rite scenic artist”  (The Pantagraph, 10 April, 1934, page 5). He not only belonged to the Scottish Rite in Chicago, but also in Valley in Bloomington, Illinois. Other fraternities included the Ancient Accepted Order of the Nobles of the Mystic Shrine and the White Shrine of Jerusalem. By 1940, John Becker changed the title of his occupation to that of “scenographic engineer, “ with Raymond remaining a scenic artist for the remainder of his days.

John C. Becker started living in Sarasota, Florida, by 1956, passing away at the Sarasota Memorial Hospital on May 3, 1963. He was 81 years old with his last residence was 2539 Trinidad St. Brother Raymond passed away in 1976 at the age of 85 yrs. old.

Although much more could be written about both of the Becker brothers and their company, I am going to pause here. This was only intended as a brief introduction to Becker Bros. as their firm enters the life and times of Thomas G. Moses in 1912.

To be continued…

The Bloomington Scottish Rite membership dramatically increased during the second decade of the twentieth century. Within less than a decade, a larger facility and grander stage were need for degree work. Sosman & Landis first delivered scenery to the Bloomington Scottish Rite in 1911 and 1912.   They would not deliver any scenery for the 1921 stage. The Director of Works, Delmar D. Darrah ordered a second set of scenery from his good friend John Becker of J. C. Becker & Bro. in Chicago. Darrah, an active member of the Supreme Council, was the author and director of the Passion Play. He also was the Director of Works and managed many of the production that won fame in the local Scottish Rite Consistory.

In 1917, a new building was proposed and land purchased at East and Mulberry taking place by May 1918. Necessary building contracts were authorized during November 1919, with the building being completed by 1921. The new Scottish Rite Temple was located at the north edge of the Bloomington’s business district, at 110 E. Mulberry Street.  The first Fall Reunion in 1922 included 353 candidates. Owned by the Bloomington Scottish Rite Consistory, the building soon became host to a public theatrical event – “The American Passion Play.”

I first learned of Bloomington’s Passion Play while cataloguing the Great Western Stage Equipment Co. collection as part of an Undergraduate Research Opportunities Program (UROP) grant in 1989. The collection included a 1928 Bloomington Passion Play program. Beginning in 1923, the Bloomington Scottish Rite Masons presented “The American Passion Play,” an elaborate annual production that was over three hours in length, with fifty-six scenes and up to two hundred and thirty actors.

The success and popularity of the production was immediate for both the Fraternity and local community. On April 18, 1927, “The Panatgraph” reported, “Leon M. Abbott, Sovereign Grand Commander of the Supreme Council, Praises the Passion Play” (Bloomington, Illinoi, page 3). Abbott traveled 1500 miles expressly for the purpose of attending the Passion Play.  He also explained to the audience that about five years ago it had been his privilege to see the original Passion Play as portrayed by the inhabitants of the little Bavarian city known as Oberammergau. The Oberammergau Passion Play had been performed since 1634. A staging of Jesus’ passion, covering the short period of his life from his first visit to Jerusalem and leading to the crucifixion, the play was the result of town residents vowing in 1633 that if God spared them from the Bubonic plague they would produce the play thereafter for all time. Of Bloomington’s American Passion Play, Abbot stated, “Today, [Darrah] took me back to that place in the little Bavarian village with a population of 19,000, some 5000 of which take part in the Passion Play. It was a wonderful experience.”

The article continued, “Highest officials in Masonry with other active members of the Supreme Council from Eastern States and from Illinois, witnessed Bloomington’s gigantic production Sunday evening when more than one thousand Consistory men and their wives assembled to honor the distinguished guests – Honor guests lauded work of Delmar D. Darrah, active member of the Supreme Council and Director of Work in Bloomington Consistory and also the Consistory Players.” Abbot as quoted complimenting Darrah, saying, “It almost staggers belief that one man can be responsible for the intricate preparation of all that necessary to present the work which we witnessed this afternoon.” A photograph was included with the article, picturing (left to right) Delmar D. Darrah of Bloomington, C. R. Spillman of Chicago, Leon M. Abbott of Boston, S. O. Spring of Chicago, and Leroy Goddard of Chicago.

For Bloomington’s Scottish Rite stage and for Darrah’s Passion Play, J. C. Becker & Bro. provided all of the scenery instead of Sosman & Landis.

Why Becker and not Sosman & Landis? 

The switch is because John Becker cultivated a close friendship with Darrah.  This connection would give Becker an advantage for many 1920s Scottish Rite projects throughout the Northern Masonic Jurisdiction, especially those in Illinois.  After becoming a Mason in 1912 (Maywood Lodge 869 F&AM), Becker also became a 33^rd degree Scottish Rite Mason [the final and honorary degree of the AASR]. He was a life member in the Valley of Bloomington and also active in Chicago. Becker joined Chicago’s Medinah Temple Shrine and was a past watchman of White Shrine of Jerusalem. These Masonic connections were a necessity when bidding on Masonic scenery contracts for both the Northern and Southern Jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry.

Becker’s approach is exactly the same of Joseph S. Sosman. Sosman’s connections were how Sosman & Landis secured the majority of scenery contracts for the Southern Jurisdiction. Sosman enjoyed close friendships with key Southern Jurisdiction representatives, especially Bestor G. Brown of Kansas.  Brown was the Past Grand Master of Kansas who became head of many other Masonic Orders, as well as being the western representative of M. C. Lilley in Kansas City. M. C. Lilley was a massive fraternal regalia and paraphernalia manufacturer who supplied many fraternal organizations with necessary products that ranged from paper documents and ritual books to lodge room furniture and costumes. M. C. Lilley, represented by Brown, also outfitted Scottish Rite theaters. Although M. C. Lilley did not manufacture any stage scenery, lighting systems or stage machinery, they subcontracted the work to firms such as Sosman & Landis. Both Brown and Sosman were prominent Freemasons, the key to their success within the Fraternity and theatre industry.

From the mid-1890s until the passing of Sosman in 1915 and Brown in 1917, M. C. Lilley had a close relationship with Sosman & Landis, almost solely using their services for Masonic theater contracts. This rapidly changed after the passing of both Sosman & Brown, leaving Sosman & Landis without a close fraternal connection. Furthermore, the company’s second president, Thomas G. Moses, did not become a Mason until the mid-1920s. By this point it was too late. Moses was well known and his work well respected, but he could not compete with other scenic studios represented by a Mason, such as J. C. Becke & Bro. 

So…by 1915, Sosman & Landis does not have a Mason representing the firm, however, both of their major competitors do – J. C. Becker & Bros. and Toomey & Volland.  Therefore, Becker Bros. and Toomey & Volland rapidly gain ground during the second decade of the twentieth century, eventually eclipsing Sosman & Landis by 1920.  J. C. Becker & Bro. began to secure many of the contracts for Illinois, Indiana and Iowa. With the backing of key Scottish Rite figures, such as Darrah, they began to increase their contacts across the country. 

The strength of the Bloomington Scottish Rite could not survive declining membership and aging buildings.  In 20, the old Bloomington Scottish Rite became the Bloomington Center for the Performing Arts. In an amazing turn of fate, the Bloomington Scottish Rite moved back to their first home. The original Bloomington Masonic Temple is once again the home and meeting place for the Valley of Bloomington. They went full circle, but lost so much along the way. The 1912 Bloomington Masonic Temple continues to be the meeting place not only for the Scottish Rite, but also other Blue Lodges, the York Rite, Order of DeMolay and Rainbow Girls.

To be continued…

Delmar D. Darrah was a Masonic Johnny Appleseed, sowing the seeds of Freemasonry throughout the State of Illinois during the early twentieth century. Like Bestor G. Brown in the Southern Jurisdiction, Darrah contributed to the rapid membership growth in the Northern Masonic Jurisdiction. He was responsible for organizing and participating in all four Scottish Rite bodies in the Bloomington, Illinois. Darrah was made a 33° Mason in 1909, and an Active Member of the Supreme Council in 1911 and became the Supreme Council Deputy for Illinois by 1932. Like Brown, Darrah was also a mover and shaker in the York Rite, becoming Grand Recorder of the Grand Commandery by the early 1920’s.

Both Darrah and Brown were also Grand Masters of their respective states, using their positions of power to actively promote the growth of the Scottish Rite. Being Grand Master for a year provides an incredible opportunity for individuals to push forward any personal agenda. In the case of both Brown and Darrah, these men zeroed in on building up the Scottish Rite. Keep in mind that the expansion of the Scottish Rite is solely dependent upon their success of recruiting Master Masons from Blue Lodges. Darrah became the Grand Master of the Grand Lodge of Illinois from 1910-1911, right before the new Masonic Temple was completed in Bloomington, a structure that included a Scottish Rite stage.

Here is a little background regarding the history of the Scottish Rite in Bloomington, Illinois. In response to the petition of Darrah, the Supreme Council of the Ancient Accepted Scottish Rite of Freemasonry for the Northern Masonic jurisdiction issued dispensation to institute a Lodge of Perfection in the Valley of Bloomington on December 19, 1907. On January 4, 1908, Ill. Amos Pettibone, Deputy for Illinois, instituted the Lodge in Bloomington. The Valley of Bloomington’s first reunion was held in March 1908, with a class that consisted of ninety-two candidates. During the early years, the Scottish Rite met in a fourth-floor lodge room. The Bloomington Scottish Rite grew quickly, and received their charter by September 17, 1908. That same year, dispensations and subsequent charters were also issued for Zerubbabel Council, Princes of Jerusalem, and for Mt. Calvary Chapter of Rose Croix. The Consistory soon followed suite. Darrah became the Scottish Rite Secretary and Director of Work by 1915. He served as the Secretary until 1922, and Director of the Works until 1945. He shaped degree productions and stage work at the Bloomington Scottish Rite.

The cornerstone of the Bloomington Masonic Temple at 302 E. Jefferson Street took place on April 26, 1911. In 1912, the new building opened, complete with stage and scenery. It was such a big deal that a statewide Scottish Rite event was hosted in the new facility. On June 24, 1912,”The Times” reported, “Bloomington, June 24 – Every thirty-third degree Mason in Illinois, it is thought, will attend the state assembly of Scottish Rite bodies, known as the Council of Deliberation, which will be held in Bloomington June 28. This council is the highest degree of Scottish Rite in Illinois. There will be representatives from the lodges in Chicago, East St. Louis, Springfield, Quincy, Peoria, Danville and Freeport. The supreme council is composed of James B. McFatrick, Amos Pettibone and Leroy S. Goddard, all of Chicago; S. O. Spring of Peoria and D. D. Darrah of Bloomington. This will be the first meeting of the council outside of Chicago and is in recognition of Bloomington’s new Masonic temple which was recently dedicated” (Streator, Illinois, page 6). The scenery for the Masonic stage in the building was delivered by Sosman & Landis. Keep in mind that Joseph S. Sosman was extremely active in the Chicago Scottish Rite and the firm was responsible for delivering all of the early scenery to the Chicago Scottish Rite bodies over the years.

The key to the Bloomington’s Scottish Rite success was their elaborate degree productions. On 18 October 1915, “The Pantagraph” reported, “Bloomington Scottish Rite Masons to the number of 200 are to swoop down on Springfield on November 24 in response to an invitation received by Commander-in-Chief Darrah requesting that the local staff confer the Twenty-seventh degree on a class of candidates at that time. A special train is to be chartered for this trip, and it is expected that at least 300 members of the fraternity will make the journey to the Capital City. This degree is one of historic origin and calls for the most elaborate costuming and scenic effects. It requires 110 men for the cast. The consistory purchased special costumes and scenery for this degree some time ago and since then have held numerous rehearsals to perfect the staging of the production” (page 7).

Bloomington’s Masonic Temple on Jefferson Street was the location for the first degree productions in 1912. According to a 1913 annual report, 144 candidates joined 1912. As Scottish Rite membership skyrocketed, the need for a new temple was proposed. In 1917, a new building was proposed, with the purchase of land at East and Mulberry taking place by May 1918. Necessary building contracts were authorized during November 1919, with the building being completed by 1921. The new Scottish Rite Temple was located at the north edge of the Bloomington’s business district, at 110 E. Mulberry Street.  The first Fall Reunion in 1922 included 353 candidates.

To be continued…

In 1912, Thomas G. Moses recorded that Sosman & Landis delivered Scottish Rite scenery to Santa Fe, New Mexico. Santa Fe Masons purchased the original McAlester scenery; this is the first collection, as the second McAlester scenery collection is now in Salina, Kansas. The purchase of a used scenery collection was to get the membership used to degree productions. Once the building was dedicated, the “practice” scenery was sent to the Scottish Rite Charleston, South Carolina.

Two weeks before the Santa Fe Cathedral’s dedication, ”The Deming Headlight” reported, “On the evening of the 17^th of November, the Scottish Rite Masons of New Mexico will dedicate their magnificent cathedral in the city of Santa Fe. On the 18^th, 19^th and 20^th, of November the dedication class of aspirants for Scottish Rite honors will see the beautiful degrees of the Ancient and Accepted Scottish Rite of Freemasonry conferred from a great auditorium 58×72 feet which has a seating capacity of 600. The dedication on the evening of the 17^th will be a memorable occasion to all Masons in New Mexico since it will formally open the most beautiful home consecrated to Masonry in the southwest. The cost of the cathedral, when finally completes with the equipment, will be about quarter of a million dollars” (Deming, New Mexico, November 1, 1912, page 6).

I am not going into the entire history of the Santa Fe Scottish Rite for this post. After restoring the scenery collection in phases from 2002 to 2005, I was asked to write about the theatre in an upcoming publication. In 2014, I began a project that resulted in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). The story of the Santa Fe Scottish Rite is neatly compiled with both historic images and stunning photographs by Jo Whaley. Here is the link to the book on Amazon: https://www.amazon.com/Santa-Scottish-Rite-Temple-Architecture/dp/0890136335/ref=sr_1_1?keywords=waszut-barrett&qid=1570201389&sr=8-1

My fascination with the Santa Fe Scottish Rite Theatre began early in 2002. I was sitting in Lance Brockman’s office at the University of Minnesota when he received a call from the Santa Fe Scottish Rite. They were looking for someone to assess and repair their scenery collection; he recommended me.  At the time, I was still in graduate school, a perpetual student stuck in ABD (all but dissertation) mode. My husband and I were both in school and raising a five-year old daughter. Fortunately, my folks were both retired and helped us out a lot. When I explained the Santa Fe opportunity, they planned their next vacation near Santa Fe, New Mexico. They frequently traveled south in their RV, camping all over the United States.

I made the long drive with Isabelle from Minnesota to New Mexico that February. In my little red Ford Escort, we ventured from the snowy plains of Minnesota to the arid mesas of New Mexico. Isabelle and I stayed with my folks in an RV campground, just west of Albuquerque, for over a week. During the day, Isabelle and my parents found exciting things to do, while I drove the north on the Turquoise Trail to Santa Fe. In Santa Fe, I spent full days evaluating both the scenery and costume collections. A few times, my father came with me, helping raise and lower scenery, or just sitting and enjoying the art.

Four months later, I was leading a large group of locals during the first phase of the scenery restoration. That summer, I also began the Scottish Rite scenery restoration in St. Paul, Minnesota.  The two collections were created within two years of each other and were almost identical. The only major difference was that the St. Paul collection had moved once to a new location, so it shared much more wear and tear.  

For each phase of restoration in Santa Fe, my husband and daughter joined me. Nothing was better than staying in the dormitory of the beautiful pink building, a stone’s throw from Santa Fe’s central plaza and dozens of trails. We experienced the various summer markets, Canyon Art Road, the Palace of the Governors, opera season, the children’s museum, and many nearby hikes.  It did not matter that I was working 10 to 12 hour days, as the crews were fun, the project interesting, and we had two days off each week to play. 

There is something beyond Santa Fe’s beautiful scenery collection, ornate architectural décor, and stunning central courtyard. There is an irrepressible energy, not only inside the building, but also within in the city.  I travel a lot. I love experiencing different people, cultures and food, easily making friends along the way. When I first arrived at the top of the Santa Fe Scottish Rite steps during February 2002, however, it was different; it was like returning home after a long absence. I experienced a wide array of emotions that ranged from gratitude and relief to excitement and sheer joy. I would give anything to go back and relive those few summers.

I have felt at home in many Scottish Rite temples. There is a specific smell that all of these places share in common, regardless of climate or regional characteristics.  While working, I frequently encounter a cool air that carries a slight musty smell. The scent is a combination stale musk and the metallic ting of dry pigment.

Historic theaters, whether they are opera houses or Scottish Rite theaters have a residual energy that lingers about the stage machinery and scenery. You just have to pay attention. I have encountered this in other performance spaces too, not just Masonic ones. It is connected to the original installation. Although hard to explain, it is as if everything is just silently waiting for another performance. Once these elements are removed or altered, the dynamic of the stage changes; it is as if the soul has left the space.

To be continued…

In 1912, Thomas G. Moses wrote, “Went to Elgin to see Father McCann about a show for their Coliseum – a big street effect.” 

Moses was referring to the Elgin Coliseum and Father John J. McCann of St. Mary’s Roman Catholic Church in Elgin, Illinois. The Elgin Coliseum had a seating capacity of 4,000 people, large enough to host a sizeable church event. It is likely that the big street effect was for the State Sunday School convention that summer.

On May 24, 1912, the “Joliet Evening Herald-News” advertised the upcoming State Sunday School Convention at the Elgin Coliseum, drawing in thousands of church people over Memorial Day weekend (page 17). The three-day event included celebrity appearances and special programming pertaining to the instruction of children. The “Joliet Evening Herald-News” reported, “Special effort will be made to bring out features interesting to men and women both. The instruction of children of both sexes in matters that pertain to their future will be one feature of the convention.”  The convention closed with a parade of Sunday School Workers on Memorial Day night. There were several bass bands and a chorus of several thousand children in attendance. For the parade, 5,000 Sunday school workers from all parts of the state took part in the march.

Father McCann was quite an interesting individual and somewhat of a controversial character by 1918. Much of the later drama surrounding Father McCann had to do with Bishop Muldoon.

In 1909 the “Joliet Evening – Herald News” included an article about Bishop Muldoon’s visit to Elgin, reporting, “Bishop Peter J. Muldoon of the Roman Catholic diocese of Rockford, was given an elaborate reception on his first official visit to the city. A parade of 1,000 persons, headed by a band, met the bishop at the station and escorted him to St. Joseph’s church where an informal reception was held, and then to St. Mary’s parish, where he was the guest of Father J. McCann until evening. At 8 p.m., the bishop addressed a public gathering at the Coliseum at which Mayor Fehrman, Representative Price, and others spoke” (9 May 1909, page 3). Quite the reception.

In 1918, however, Father McCann would make the news in regard to his defiance to the Bishop. It all started when newly appointed church trustees were refused access to the financial records. These same Trustees later called on Father McCann and demand that he relinquish all church records and property. They were driven off when shots were fired from the second story of his residence. Two days later, and injunction was announced, but Father McCann could not be found, as he and his brother were in Chicago. Bishop Muldoon then suspended Father McCann and announced that Rev. T. Gilbert Flynn would succeed him immediately, conducting the St. Patrick Day Service. A guard was even posted in the church on Saturday night to prevent Father McCann from conducting the service the next day.  Father McCann’s response was to chase away the guard and barricade himself and his brother in the church.

The “Chicago Tribune” headline read. “Ram Door In, Seize Priest After Battle.” (Chicago Tribune, 18 March 1918, page 1 and 10).

The twenty-four hour siege of St. Mary’ Catholic Church ended when a dozen policemen and deputies forced the church doors open with a crowbar. Nine bullets, fired by the McCanns at the police, were later found embedded in the church door. When the police finally entered the church, Father McCann was in his vestments, kneeling in prayer while his brother stood guard. In the article, Father McCann claimed that he was a victim of personal spite on the part of a high church official, saying, ‘Muldoon will lose his purple before I lose my position” and he promised to sue for false arrest and trespass.

On March 19, 1918, the “Philadelphia Inquirer” reported:

“PRIEST DEFIES BISHOP

Elgin, Ill., Minister Refuses to Give Up Catholic Parish.

ELGIN, Ill., March 18 – “This Parish is worth $100,000 to me. It pays me $4,000 a year, or at a rate of 4 percent on $100,000. I won’t give that up without a fight. I am fighting for my life and shall defend myself to the finish.”

Defiance sparkled in Father John J. McCann, pastor of St. Mary’s Roman Catholic Church, as he announced his ultimatum to Bishop J. Muldoon, of the Rockford diocese today. The archbishop has been trying to oust Father McCann for some time as incompetent.

“I have been pastor at St. Mary’s for twenty years and up to two years ago was considered a friend to Bishop Muldoon,” continued Father McCann. “Envy is back of this.”

It is alleged that when officers appeared with a summons for Father McCann yesterday the former were driven away with shots. Father McCann said:
“I had no revolver and did not see one.”

The priest is to appear be in the police court here Wednesday on a warrant charging assaults and threats of bodily injury obtained by Rev. T. Gilbert Flynn, appointed as temporary pastor of the parish.”

The story and trial caused quite a sensation, with Chicago priests firmly on the side of McCann. Father McCann was charged with many things, from embezzlement to kidnapping and a secret marriage. One thing for sure, Father McCann was a poet who published under the pen name of Leo Gregory. In the volume, “The Kaiser and Other Poems,” issued in 1902, the following verses were from McCann’s “Not Hypocrite, but Human.”

“I have done wrong. Who has not?

But I have done some good;

And more of good than ill, I trust;

I did the best I could.

Was good I did the less sincere,

Because I failed in part?

Not hyprocrite, but human, friend,

Described the erring heart.

To be continued…

In 1912, Thomas G. Moses recorded that Sosman & Landis delivered Scottish Rite scenery collections to Santa Fe, New Mexico, Portland, Maine, and Bloomington, Illinois. In addition to Scottish Rite theaters, Sosman & Landis secured the Shrine scenery contract for the Medinah Temple in Chicago. Of the work, Moses wrote, “Sketches for the Medinah Temple were accepted and work awarded us.  The drops are 26 x 65 – some size.” The Medinah Temple faced Cass Street and extended from Ohio Street to Ontario Street.

I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine.  I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge (first three degrees), he continues his education as a Master Mason in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine.  The “Shrine” was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of extending their Masonic education in the Scottish Rite/York Rite, and immediately jettison into the Shrine.

On October 30, 1912, newspapers advertised, “Masonic Temple in Chicago Dedicated” (“Decatur Herald, 31 October 1912, page 4).  The article reported, “The new Medinah temple was dedicated here tonight by the Order of the Nobles of the Mystic Shrine. More than 9000 Masons headed by Imperial Potentate William J. Cunningham of Baltimore, took part in the ceremonies which were elaborate. The building, which cost $650,000 is the finest of its class in the world. It has a seating capacity of 6000. The stage can accommodate another thousand persons.” The seating capacity was actually 4500, not 6000.The building was designed by architect Harris W. Huell of Huell and Schmidt, in the Moorish Revival style, with scenery and stage machinery by Sosman & Landis of Chicago. The Medinah Temple auditorium was also well known for its superior acoustics and 92-rank pipe organ.

Over time, the building fell into a state of repair and the sale of the property was presented to the membership. In preparation for a future move, the Masons liquidated many if the building’s contents, including the 80’-0” Gustav Brand painting of a pilgrimage to Mecca, oriental tapestries, vintage furniture, regalia, stage costumes, circus ephemera, and the list goes on. I have repeatedly discussed the liquidation of Masonic contents in historic buildings. In many cases, there is a lack of understanding in regard to the cultural significance of many fraternal artifacts, especially their historic importance. Masonic artifacts are being sold and thrown out quicker than they could ever be documented. In about a decade, after a new generation of Masons has joined the Fraternity, they will question the actions of the current generation. These future members will realize what was squandered for the benefit of a relatively few.  

By the turn of the twenty-first century, there was an attempt to save the city of Chicago attempted to save this historical landmark while repurposing the structure. $14,000,000 in state and federal money assisted Federated and Bloomingdales. Medinah Temple reopened as Bloomingdale’s Home Store in 2003. The space was renovated with retail in mind. The interior coffered plaster dome, proscenium opening and stained glass windows were preserved. The original first floor, once six feet above street level, was dropped to grade. Local newspaper articles boasted of the building’s renovation and the project even won awards. Meanwhile, the Shriners had relocated to another venue in the western Chicago suburb of Addison.

I visited the renovated structure in 2014 while attending a League of Historic American Theatres regional conference. I was fortunate to have a few free hours during the event as it provided me an opportunity to go on a walking tour with a Masonic friend in town. As we searched for original ornamentation and discussed the Medinah Temple’s history, I could not help but grieve for the overall loss.  The building’s exterior may have been saved, but the soul of the space was gone.

Last fall, the Medinah building was placed on the market again, appearing in newspapers articles during August 2018. The 130,000 sq. ft. building was a mere victim of Bloomingdale’s nationwide downsizing. Using public money to restore a historic building for retail may not be the solution and I have to wonder if the $14,000,000 in state and federal money merely prolonged the inevitable. Here is a link to an online article about the Medinah building with some lovely architectural details: https://www.wbez.org/shows/morning-shift/whats-that-building-medinah-temple/3e8d9257-2f34-4126-953b-f4aee23d31a4

To be continued…

Today’s post continues with the story of New York Studios for one more post.  In 1912, the firm brought suit against the owners of the Colonial Theatre. In court they tried to recovered money that was due from F. & H. Schweppe for a “Moonlight Olio.”

I have read many tales of honest and hard-working people who were not paid for their work. They all seem to share a similar story. Only twice, have I had the misfortune of being “stiffed;” pretty good for being in the business more than thirty years.  However, for me that was twice too many.  I think that the first time was the hardest as I didn’t see it coming. It concerned painted ceremonial settings for the Ancient & Arabic Order of the Nobles of the Mystic Shrine – go figure.

While researching the life and times of Thomas G. Moses, I have repeatedly read the letters of correspondence between scenic studios and various Masonic organizations, begging for money owed from scenery that was already designed or installed. In many ways, I feel quite fortunate with only suffering from two dishonest clients.

Not being paid from a Masonic organization is similar to not being paid from a religious institution; they know better.  I always think back to Thomas G. Moses quote, “My experience with Church Committees, of all denominations was such that I almost promised myself never to enter another Church.  I found a lot of dishonest men that were pillars of the church and naturally I looked upon them as good Christians, and their word should have been as good as their bond.”  

There is an interesting dance that often occurs with a client, or organization, owes money for completed work and has no intention of paying. After a series of delays, a lame excuse is often presented as justifying nonpayment.  It really doesn’t matter to the client at this point, as the vendor has already delivered everything promised; they are simply waiting for compensation. So the client just sits, gambling in a way, and hoping that no legal action will ensue.  The person owed the money contemplates whether the amount is large enough to incur additional legal fees. In 1912, New York Studios decided the amount was worth it.  Their particular story had to do with a client paying for scenery that was not returned in 1911.

On March 18, 1912, the “Star-Gazette” reported “The New York Studio, painters of stage scenery of all sorts has begun action against Schweppe Brothers, owners of the Colonial Theatre on Main Street to recover $90, claimed to be due on a “moonlight olio drop” which was furnished that theater. It is alleged that settlement made with Schweppes at a certain figure providing the local firm would return the drop. The studio says the drop has not been returned” (Elmira, New York, page 3). In other words they rented a drop and decided to keep it. The first time round they lost the case in city court.

On September 4, 1912, the “Star-Gazette” reported “The New York Studios Company, through their attorneys, Baldwin & Allison, have appealed from a jury’s verdict in city court which was rendered in favor of Fred and Henry Schweppe, owners of the Colonial Theatre block. The action has been tried in a city court to recover $90, which the New York Studios Company alleged was due them for a ‘Moonlight Olio.’ The jury held that the Schweppe Brothers were justified in their position. The jury rendered that verdict on July 25” (Elmira, New York, page 11).

Now there is the basic question here: “What is a Moonlight Olio?” There is an ongoing discussion about “olio, the machine” versus “olio, the scene.”  In this particular case it is painted scenery, more specifically a backdrop that depicts a moonlight scene or has a moonlight effect. Olio likely refers to the studio design label. Examples of “olio” drop compositions can be found in the Performing Arts archives at the University of Minnesota. The Twin City Scenic Co. collection has an entire box of olio designs, with each label using an “O” for olio, for example, O-89. Olio drops were musical numbers placed between the scenes of a play/melodrama and were independent of the main storyline. Back to the court case…

By 1915, The “Star-Gazette” published the ongoing 4-year saga of the moonlight olio, reporting, “The action grows out of the furnishing scenery for the Colonial. The original claims were settled at 75 cents on the dollar and in the settlement the Messrs. Schweppe were to return a moonlight drop, which is one of the canvas painted drops which make the background of the stage setting. The studios had furnished two olios and it is claimed that the wrong one was returned. From this incident, four years ago, grows the present action for $90. It was tried once in City Court and Messrs. Schweppe were successful. The studios appealed” (1 June 1915, page 7). On June 2, 1915, the verdict was published – $90 was awarded to the New York Studios. The “Star-Gazette” commented, “The $90 is the full amount of the claim but it is not so much the money as a vindication of lawyers that was being fought for” (1, June 1915, page 7).

The $90 fee for the Moonlight Olio is the equivalent of $2,380.44 today. Although this was not a great amount of money for a scenic studio to lose in product, they had to fight this battle in a very visible arena. Their legal actions sent a signal to other theaters and clients that New York Studios would not back down; they would collect money owed, regardless of the amount. 

To be continued…