Information about historic theaters, scenic art and stage machinery. Copyright © 2024 by Wendy Rae Waszut-Barrett, PhD
Copyright © 2020 by Wendy Waszut-Barrett
In 1927, 117 drops were moved from the Scottish Rite Theatre in McAlester, Oklahoma, to the Scottish Rite Theatre in Salina, Kansas. The collection dates from 1908, originally delivered by the Sosman & Landis Scene Painting Studio of Chicago. Thomas G. Moses (1856-1934) supervised the design and painting of the collection.
Copyright © 2020 by Wendy Waszut-Barrett
In 1923 Thomas G. Moses traveled from Little Rock, Arkansas, to Fort Scott, Kansas. He decided to take the scenic route along the White River. Of the experience, he wrote, “I listened to many travelers regarding the wonderful White River trip through the Ozarks. I took it – never again. I was disgusted. I have since learned that I should have taken another route, which is the real one…”
The White River flows through Arkansas and Missouri, starting in the Boston Mountains of northwestern Arkansas.
The railway that followed the White River included a series of engineering challenges, even cutting into limestone cliffs. Bill Caldwell wrote a pretty informative article about the line entitled, “The Sad Tale of the Missouri & North Arkansas line, aka the ‘May Never Arrive.’” Here is the link: https://www.joplinglobe.com/…/article_bf1d0ed9-b924…To be continued…
Copyright © 2020 by Wendy Waszut-Barrett
Thomas G. Moses visited Wichita, Kansas, multiple times throughout 1923. Often it was a quick stop as he hustled from one project to another, zipping across the country. By summer, he stayed at Wichita’s Acacia Hotel, made sets for the Shrine, closing a contract for $750.00.
Moses was working on scenery for the Midian Shrine Circus. Planning for the 1924 Shrine Circus began by April 1923. The Shrine Circus was under the direction of Henry Wallenstein. Wallenstein was in charge of most Masonic ceremonies and activities in Wichita; his being involved in numerous Masonic orders, as well as being both the Director of the Work and Secretary for the Wichita Scottish Rite. Wallenstein had known and worked with Moses since the 1890s. He was heavily invested in fraternal theatre endeavors throughout the state, and the circus was his new pet project.
On February 8, 1924, the “Inman Review” reported, “The Midian Shrine Circus to be presented at the Wichita Forum February 18th to 23rd will eclipse any previous show ever produced in the number of real circus acts in the variety and ability of the performers and in the large display booths and other attractions. There will be a very pervading atmosphere of fun and frivolity during the full six days of the Circus” (page 4).
By Feb 8, 1924, the “Inman Review” reported, “A complete change of program will be offered, all new and different acts out of the big summer white top shows. It is the policy of the Management of the Midian Shrine Circus to spare no expense in offering this amusement event to the public. Ten months have been spent in planning and twenty big acts of professional performers will be on hand to offer you the greatest indoor attraction witnessed in the Southwest. 50c admittance, the same as always, will be charged, and there will be hundreds of free seats” (page 1). The 1924 shows ran from Feb 18-23rd.
The Lindsborg News-Record described some of the acts: ‘Among the twenty real circus acts booked are the now Famous Flying Wards, who are now booked at the New York Hippodrome; the Joe Hodgini Troupe of Equestrians from Sells Floto Circus; Madame Bellini, the biggest individual act in the circus world who brings her beautiful menagerie and high school horses; Sir Vistor’s Dogs and Ponies; the Laemy Sisters; Dainty Ethel Marine in her Spanish Web Act, the Hamilton Sisters; Hassan Bey and his Arab Troupe; twenty other famous clowns, and many others” 1 Feb 1924, page 4).
Of the event, the “Hazelton Herald” announced, “Five thousand members of Midian Temple located in every progressive city of the Southwest are assisting in making the Midian Shrine Circus of 1924 a success. The date is set for the entire week of Feb 18 to 23 and two performances a day will be given at the Forum, Wichita. One hundred and fifty thousand people who have seen the previous Midian Shrine Circuses are anxiously waiting for the doors to open on Feb 18th” (1 Feb 1924, page 1).
To be continued…
Copyright © 2021 by Wendy Waszut-Barrett
Scenery by Sosman & Landis for the Elks Opera House (Tabor Opera House) in Leadville, Colorado, 1902. The Sosman & Landis Studio was subcontracted by the Kansas City Scenic Co. for the project.
For more scenes from the Tabor Opera House, visit www.drypigment.net and keyword search “Tabor Opera House.”
Copyright © 2021 by Wendy Waszut-Barrett
In 1923, Thomas G. Moses delivered and installed scenery at Masonic Hall in El Dorado, Arkansas. He arrived in town on November 7 and left a few days later. Of his short visit, Moses wrote, “A few days’ work – put all my scenery up and had it paid for, which was a surprise as I expected I would have to wait for some time.”
Moses then headed to Wichita, Kansas, stopping by El Reno, Oklahoma, on his way. Of his journey, he wrote, “Had to go across the country to El Reno on my way to Wichita. Arriving there I found the scenery all up and the ceremonial under way. I left for Wichita the next day, wired the Madam that I was passing through Chicago on my way back to Binghamton, as I wanted her to meet me at the depot, which she did.”
Moses’ mention of “ceremonial” made me wonder if it was a Masonic scenery collection, so I started looking for a Masonic Temple in El Reno. Yep, there was one and it’s currently for sale – $60,000. This is really a “fixer-upper” though, as the Mason’s left in the 1950s, and the space fell prey to a variety of retail stores, all of which left its mark.
What I did find interesting, however, was that when it was constructed in 1909, the Masonic Temple was located next to an opera house – the Derry Theatre. The Derry Theatre hosted many Masonic activities, as well as many other activities.
Moses’ stop in El Reno was likely for the Derry Theatre. The Derry was used by many groups in 1923, including the Masons, Baptist Church and American Legion. Masons used the space for certain ceremonials and events, the Baptist church held Easter Services, and guest lecturers even spoke about the evils of the Klan. About the time Moses arrived, the American Legion was preparing for an Armistice Day ceremony at the venue. On November 11, the American Legion and the Baptiste Church would meet at the Derry Theatre in a special patriotic program to “participate in exercise appropriate to the day” (El Reno Democrat, 7 Nov 1923, page 1). Part of the evening’s entertainment included special patriotic musical by Baptist church choir.
The Derry Theatre is quite interesting all on its own. It started as a response to the fire that destroyed the old El Reno Theatre (the local opera house). On Jan. 12, 1921, the “El Reno Democrat” reported, “The new Derry Theatre offers a marked contrast to those days when El Reno people climbed the rickety stairs in the old opera house to see Andrews and other noted players, and it marks a new era in the theatrical business in El Reno…Years ago there was such a demand for a theater building in keeping with the city, that public spirited citizens united in the building of the old Reno Theatre. It was destroyed by fire two years ago and since that time Al Derry has had in mind the building of a playhouse that would be a credit to any city in the state, and his dreams were realized last night when the Derry Theatre was thrown open to the public for the first time” (page 1).
By April 1923, the Derry Theatre was not in great shape and entered mortgage foreclosure proceedings. Public notices from April 2-14 of that year announced the impending sale of all theater’s contents. The first public notice stated, “Notice is hereby given that in pursuance of an order of sale issued of the district court of Canadian county, State of Oklahoma, on the 2nd of April 1923, in an action wherein Roy Wolcott, as Bank Commissioner of the State of Oklahoma was plaintiff and Al Derry, Grace Derry and Chas. L. Engle were defendants. Along with all of the following foods to sell was “all standing, movable and shifting scenery other than curtains hung on rolls and other scenery so attached as to permanently remain in same place in the building. By Nov. 15, 1923, the “El Reno American” announced the suit to prevent the removal of moving picture show fixtures from the Derry Theatre” (page 1).
But the Derry reopened on Dec. 19, 1923, and the Derry’s were still involved in the management. On Dec. 13, 1923, “The El Reno American” reported, Derry to Open Saturday. Unless unforeseen circumstance arises, the Derry theatre will be restored to El Reno on Saturday night when Mr. and Mrs. Al Derry will open up with a combined picture show and vaudeville their new playhouse in the old armory building at the corner of Rock Island and Hayes. The new addition to the theatrical field, which will be the fourth to be put into commission in El Reno, has been fitted up with one of the largest stages in this part of the state, and Mr. Derry states that he has booked a number of high-class road shows for the coming winter. The building will have a seating capacity of 900 and will be heated with coal furnace” (page 1).
On Dec. 19, 1923, the “El Reno Daily Democrat” announced, “New Derry Theatre Will Open Tonight” (page 1). The article continued, “The New Derry Theatre at the corner of Rock Island and Hays street will open tonight with a big feature program…The opening of the Derry offers a wide range of entertainment – spoken drama, film drama and vaudeville” (page 1).
To be continued…
Copyright © 2021 by Wendy Waszut-Barrett
Scenery by Thomas G. Moses (1856-1934) for the Scottish Rite Theatre in Fort Scott, Kansas.
For More information about the Fort Scott Scottish Rite or Scottish Rite theaters, use the keyword search function.
Copyright © 2021 by Wendy Waszut-Barrett
At the end of 1923, Thomas G. Moses wrote, “This year has been a very disastrous one, in respect to my picture painting. I have not been able to do anything but a few pencil sketches, enroute to the south and east. I will never be able to have the time I had in New York, where I could run up to the Catskills in a few hours at very little expense. My dream of desert sketching will never come true, unless I sell out. My forest pictures will always be with me, as it is now second nature for me to do them. I should have made a stronger effort in Oregon and Washington to get some of the big tree sketches and a few more of Mt. Rainier, that very elusive peak that was under a cloud cap, most of the time, as there is only a few months during July, August and September that it is possible to get it at all. It is almost necessary for one to live there and catch it on the fly.”
You can feel his regret, the realization that he had gambled and lost. When Moses went back to Sosman & Landis in 1904 he gave up the one thing he valued most – time; time to paint pictures. He left a successful business in New York to supervise all aspects of production at Sosman & Landis. He was initially compensated for the loss, receiving shares of stock, the title of vice-president and recognition, but he lost time…and time is the one thing that you can’t get back. Moses must have told himself along the way that all of his sacrifices would eventually pay off. When he got older, there would be enough time and enough money to go paint for himself. But year after year, the sketching trips became less frequent, until there were none.
This is one of the reasons that I started painting for myself this year. I didn’t want to waste another decade.
To be continued…
I continue to revisit some favorite locations with my brush. My previous painting series “Quarantine Travels” and “Colors of Colorado” helped me weather quite a few challenges in 2020.
Here is a new series featuring scenes from the Canadian Rocky Mountains. I will continue to post each completed painting to the series until I am ready to journey elsewhere.
The Canadian Rockies: Johnston Creek Waterfall. 16” x 20” acrylic painting by Wendy Rae Waszut-Barrett.
The Canadian Rockies: Lake Louise. 16” x 20” acrylic painting by Wendy Rae Waszut-Barrett.
Copyright © 2021 by Wendy Waszut-Barrett
Scenery by Thomas G. Moses (1856-1934) for the Scottish Rite Theatre in Fort Scott, Kansas.
For More information about the Fort Scott Scottish Rite or Scottish Rite theaters, visit www.drypigment.net and use the keyword search function.
Copyright © 2021 by Wendy Waszut-Barrett
In 1923, Moses wrote,” I went to El Dorado and signed up for $3,150.00 including the murals. I felt pretty good over that. I will do something worthwhile on them.”
Moses landed the contract for scenery and murals in the lodge room at the new Masonic Hall on North Washington Street in El Dorado, Arkansas. It was a four-story building designed in the Egyptian Revival style. The cornerstone laying ceremony took place on April 28, 1923, and Moses began work on it right away while juggling a few other projects. Although was still employed at Sosman & Landis, this was one of the side projects for Moses & Megan, as they bided their time, waiting purchase the Sosman & Landis name.
Much of the scenery for the El Dorado Masonic Hall was painted after hours when Moses was on site in Binghamton, New York. That fall, Moses wrote, “On the 25th of October, I received a wire from El Dorado, asking me to come on there for a few days and lay out the color scheme. As I had been working on the scenery for El Dorado and Wichita during my stay in Binghamton, I had it shipped so I could put it up.” After arriving in El Dorado to install the scenery, he wrote, “A few days’ work – put all my scenery up and had it paid for, which was a surprise as I expected I would have to wait for some time.” He also collected $600 as a down payment for the mural work. A month later, Moses was working on the lodge room murals. He wrote, “I started my mural panels for El Dorado and some Masonic models which we were sadly in need of…I am very anxious to have my murals at El Dorado come out good as it is going to mean a great deal for me in the future, not only in Masonic work but back again in lobby displays in hotels and theatres.”
At the same time he was working on the El Dorado murals, he and Fred Megan were also going after Masonic projects in Little Rock, Denver and Fort Leavenworth. Those were the projects that required Masonic Models. Early in 1924, Moses wrote, “I started to work on Fort Leavenworth drops, during the week spent some little time on El Dorado murals. My best day on murals is Sunday. Megan on the road most of the time makes the studio work so much harder for me, especially when I want to paint more.” By the end of March 1924, Moses brought his finished murals to El Dorado. Of his trip, he wrote, “Got all my murals up and everyone pleased. Bowers paid me $600.00, a like balance to be paid later.” The mural project was $1800, with 1/3 due upon contractual signing, 1/3 upon delivery and 1/3 at a later date.
El Dorado is quite a fascinating town on its own, situated along the Ouachita River in the Timberlands region of Arkansas. It was timber and agriculture that initially fueled the area. However, on January 10, 1921, the Busey No. 1 oil well was completed one mile southwest of El Dorado. Dr. Samuel T. Busey was an oil speculator who struck it rich. On February 3, 1921, Topeka’s “Petroleum Journal” reported, “A doctor, a farmer and a Chinese laundryman gambled in oil at El Dorado, Arkansas. Now the little town of El Dorado, Ark., is counting its millions, actual and prospective. Samuel T. Busey of Newark, N.J., is the doctor. He’s also a geologist and globe trotter. He heard of a gasser near El Dorado Ark. That was so strong it blew its own vents in the surface on the earth. By July 31, 1921, newspapers announced, “He is a pioneer. A discoverer of three mammoth oil fields, known as the Wildcat King of the Universe; Now drilling a Super Wildcat on 6000 Acres” (Fort Worth Record-Telegram, page 28). Although the Busey No. 1 produced only a short-lived oil run, it brought a wave of speculators into the area, transforming the small town with 4,000 residents into the oil capital of Arkansas.
Okay, really hard to write this with the “Beverly Hillbillies” song going through my head…
“Come and listen to my story about a man named Jed
A poor mountaineer, barely kept his family fed,
And then one day he was shootin’ at some food,
And up through the ground come a bubblin’ crude.
Oil that is, black gold, Texas tea.”
Here’s the link in case you need a little Buddy Ebsen tonight: https://www.youtube.com/watch?v=T94bE2_CfPA
By the time Moses visited El Dorado in 1923, the city was in the midst of a building boom, with fifty-nine oil contracting companies, thirteen oil distributors and refiners, and twenty-two oil production companies. It’s not surprising with Moses having worked with Herbert Barnard on the Petroleum Expo in Tulsa that year. He likely got the connection at the event.
It was during this time that El Dorado Lodge No. 13, F. & A.M. built their new Masonic Hall. By 1925 the El Dorado’s population reached 30,000.
The El Dorado Masons had been around for quite a while, having first received their charter in 1846. Like many Masonic Orders at that time, they met in a variety of locations, until they secured enough funds to purchase their own building. Their luck was not fantastic though, as one after another of their buildings burned to the ground. Their last purchase before building the Hall in 1923 was the Johnsten Opera House; and yes, that burned to the ground too. Fortunately, the El Dorado Masonic Hall has withstood the test of time and even made it onto the National Register in 2001. It is now part of the El Dorado Commercial Historic District, comprised of sixty-nine buildings and one monument.
Tracking down any historic image of the hall has been quite a challenge. Fortunately, Zackery A. Cothern included two images of the building in “Arkansas Listings in the National Register of Historic Places: Egyptian Revival Design Elements,” published in “The Arkansas Historical Quarterly,” (Vol 63, No. 4, 2004).
…and then I turned to Facebook…
I started looking to see if the lodge or members were posting any photos of ceremonial activities that would provide a glimpse of the stage or lodge room. Strike! Although the stage area still remains a mystery to me, Moses’ murals for the El Dorado Masonic Hall were featured numerous times. They are quite lovely. This small fraternal theater will be part of my next southern travel itinerary.
To be continued…