Travels of a Scenic Artist and Scholar: Lenn C. Harris and the Oakland Scottish Rite

Copyright © 2026 by Wendy Waszut-Barrett

In 1927, Thomas G. Moses hired Lenn Harris as his on-site assistant for the Oakland Scottish Rite scenery project. Very little is left of Harris’ contribution to American theatre. Over the years, there are a few artists whose story I just can’t let alone. Harris is one of them. I have spent far too much time tracking down the life and career of Lenn Charles Harris (1889-1930). In many ways, I have far more questions now than when I began in November 2025.

Harris really exemplifies the many generations of scenic artists who started as performers. They were restless and moved around a lot, always waiting for their big break that never came. They had opportunities, but everything seemed to end far too soon. In many ways, Harris’ work for Moses may have been the biggest project of his career. He passed away only two years later, with precious little to mark his passing. This may be one of the reasons that I have been compelled to keep scanning records for more information. Here is best that I could do to honor Harris’ theatrical legacy and contribution to our shared history.

When 71-yrs. old Tom Moses hired 38-yrs. old Harris in 1927, he needed someone who was fast and accurate. He had previously worked with Fitch B. Fulton in California; the two working on numerous Scottish Rite projects that included Pasadena and San Jose. Unfortunately for Moses, Fulton was not available to assist Moses at either the Salt Lake Scottish Rite or Oakland Scottish Rite in 1927.

 Although it is possible that Moses first met Lenn Harris in Oakland, California, each had deep ties to the Chicago theatre community. Lenn Charles Harris was born on Feb. 7, 1889, in Erie, Pennsylvania. He was the son of Frank P. Harris and Katherine A. Teeney. Like many scenic artists, his entry into the theatre profession began as a performer. By the time Harris was twenty years old, he was living in Chicago and touring as a performer. Between 1910 and 1913 he was with the Bush Temple Dramatic players of Chicago. In the spring of 1913, Harris became associated with the Glass Players. On April 16, 1913, the El Paso Times announced, “Lenn Harris, identified for three years with the Bush Temple Dramatic Players, Chicago, is registered at the Sheldon. Mr. Harris is to do important roles with the Glass combination. In a separate article in the same newspaper, the Glass Company at the El Paso Theater was featured. The Glass Players has arrived in El Paso after a successful fourteen week run at the Crawford Theatre. They delayed their opening in El Paso while waiting for new cast members, which included Harris. As a side note, the Glass Company was organized at the Spreckles Theatre in San Diego.

After a brief association with the Glass Company, Harris became the new leading man for Agnes DeVere’s The Circus Girl. On Jan. 23, 1914, the Marshall County News in Marysville, Kansas, noted, “Miss DeVere’s new leading man, Mr. Lenn Harris, is a young actor of ability and personality that alone can add perfection as the young clergyman in The Circus Girl. Mr. Harris has been connected with moving picture firms in the East, for years, he has always met with success as a moving picture actor, before accepting positions with road companies.” His first performance with the new company was at the Turner Hall in Marysville, Kansas, on Jan. 26, 1914. Agnes DeVere was the stage name for Agnes Duncan. Of her local connections, on Jan. 30, 1914, the Marshall County News reported “Mrs. Agnes Duncan, is a daughter of our townsman August Pintus, and was raised in Marysville, and as a child exhibited talent which was so marked that her friends induced her to take up the profession of an actress.”

On Jan. 28, 1914, Harris left Marysville for a northwestern tour, with stops throughout Kansas before heading to Nebraska and the Black Hills country.  In Nebraska, The Gresham Gazette described the company as “small but each one an artist in their line” that spring. It remains uncertain as to how long Harris remained with DeVere. In March 1914, another young male actor joined the troop, possibly replacing Harris. In addition to The Circus Girl, the DeVere company performed Tempest and Sunshine, both advertised as clean and moral productions.

By the summer, Agnes DeVere’s company briefly joined forces with the Niblack picture show in Litchfield, Nebraska. Instead of performing in small halls, the Harris was now part of a tent show. In addition to film, other specialty acts began to accompany their standard fare for the Agnes DeVere Vaudeville Co. By September 1914, DeVere made a change to her program, dismissing two actors and hiring replacement for her upcoming production of The Million Dollar Girl (The Burton Independent 10 Sept 1914 p 1). This is likely when Harris left the DeVere Company, soon marrying an actress. Regarding DeVere, her company disbanded early in 1915, with the Marshall County News reporting, “Too heavy a salary list for receipts. Miss DeVere is now doing vaudeville” (5 Feb 1915 p 5).

Harris wed actress Freda Martha Giesel (1896-1980) in Washington, Iowa, on Nov. 16, 1914, listing his profession as an actor on their marriage certificate. Bride and groom both listed Chicago as their permanent residence. It is possible that both were on tour when they married that year. Freda and her family are difficult to track down as their surname varies in historic records from Giesel to Geisel. The spelling of Freda’s first name also shifts from Freda to Fredah, Frieda and Frida. Regardless, she was the daughter of Rev. Ernest Oscar Giesel (1849-1912), a Lutheran minister, and Elizabeth Herbert (1858-1936). She spent much of her childhood in Platteville, Wisconsin. In 1909 they moved to Illinois and were counted in the 1910 US Federal Census, living in Chemung, Illinois. For geographical reference, Chemung is approximately 75 miles northwest of Chicago. Freda’s stage name was “Ruth,” but after her marriage she also went by Freda Ruth Harris and Mrs. L. C. Harris.

In 1915, Lenn Harris was also working as a scenic artist to supplement their income. He made news that fall after he was contracted to paint a panorama for the International Wheat Show in Wichita, Kansas. On Sept. 14, 1915, the Wichita Beacon reported, “A Large Scenic Painting. Chicago Artist Will Make a Big Canvas for Wichita.” The article continued: “One of the largest pieces of scenic paintings ever shown in Wichita will be exhibited at the International Wheat Show during October. The painting which will be done in water colors [distemper], will be 150 feet long and 10 feet wide. It will form the background for the horticultural display in the building at the rear of the Forum. Lenn Harris, scenic artist from Chicago, started work on the canvas today and expects to have it completed in two weeks. The painting will depict a Kansas Orchard at harvest time and the orchard scenes will blend away to those of harvest field and pastoral surroundings. Apples and other Kansas orchard products will be on a large, inclined platform which will extend to the picture in the rear the natural fruits fading away in the distance and those on the painted scene gradually replacing them.”

After completing the project, Harris organizing his own company and toured The Heart of the Rockies that fall.  Harris was also responsible for the production’s scenery. The production was described in detail in the Oxford Register on Nov. 15, 1915:

“An undeniable treat is assured the playgoers of Oxford in Mr. Lenn Harris’ production of Lula Guereld’s powerful western story ‘The Heart of the Rockies.’ Mr. Harris has given to the production much careful preparation, selecting players of true type and proven merit, scenery to fit the local ideal, and an attention to detail that covers every requirement. The story deals with the life in the cattle lands of Arizona and has a human interest that is tense and convincing. The comedy is wholesome and natural, and characters are clearly and powerfully drawn. It is a play worth seeing.”

Harris placed an advertisement for the production in the Bella Plain News  that November.

In On Nov. 11, 1915, the Belle Plain News described Harris’ contribution to the production, reporting, “Mr. Harris has given the production much careful preparation selecting players of true type and proven merit, scenery to fit the local idea, and an attention to detail that covers every requirement.” The show toured throughout Kansas as a one-night stand, with stops including the Belle Plain Opera House (Nov. 15), Oxford Opera House (Nov. 16), Winfield’s Grand Opera House (Nov. 17), Cedar Vale Opera House (Nov. 18), Cherryvale Opera House (Nov. 19), Dexter Opera House (Nov. 22), Conway Springs Opera House (Nov. 23), and then into Oklahoma: Alva’s Majestic Opera House (Nov. 25). Early in 1916, the Harrises settled in Liberal, Kansas, and produced a local version of the production. On March 6, 1916, The Liberal News reported that “The Heart of the Rockies will be performed and “The company will be composed chiefly of local talent, with the exception of Mr. Lenn Harris, who will play two of the important roles on the bill…Mr. Harris played the same bill, The Heart of the Rockies in the larger cities this winter. Previous to that with many first class road shows such as The Rosary [part of The Rosary Company], Polly of the Circus, and many others.”  

On April 27, 1916, The Liberal News announced that Harris was forming his own company, reporting, “Lenn Harris, who has been directing the home talent productions here with such success, recently returned from a business trip east where he secured the popular players, Randolph Cray and Miss Jackson of the Pikes Peak Feature Film Company of Chicago, and Roy Max of Chicago, with well-known comedian Ray Kennedy, and Mrs. Ruth Harris, will make up the company who will play a royalty bill entitled The Scandal  as the opening production. The company will open soon, playing  at the opera house for four Saturday nights and at the Photoplay every Wednesday night for an indefinite period. ‘The Scandal’ is a great drama, strong in plot, and especially costumed. It is a bill for theatre-goers who like an up-to-date drama, clean throughout, no slapstick comedy, but a play that not only entertains but one that is for the mind. It was a New York Broadway success all last season and Mr. Harris paying royalty to use it. Watch for further notices. Mr. Harris is known here as a man who knows how to put on a play and with him as director a great success is guaranteed.”

The Lenn Harris Circuit Players then went on the road, performing The Scandal and Heart Adrift, throughout Kansas and Oklahoma. They soon added A Girl with a Million, The Devil, Saint Elmo and At Bay to their repertoire, advertising as the Lenn Harris Stock Company and Lenn Harris Players.

When Harris registered for the WWI draft, he was living in Lansing, Michigan. In he was managing the Majestic Theatre at 723 West Kalamazoo, an employee of theatre proprietors Larsen & Whipple. His draft registration describes him as tall and slender with dark brown eyes and thinning black hair. He was also missing a portion of this second finger on his left hand (at first joint).

By the Fall of 1917, Harris and his wife began preparing for the arrival of their first child. On April 5, 1918, the young couple mourned the birth of a stillborn daughter in Pittsburgh, Pennsylvania. That same month, Mrs. L. C. Harris, was listed as part of the cast for the silent film, A Mother’s Secret. Released by Universal. Directed by Douglas Gerrard, Mrs. L. C. Harris also is credited with the role of Mammy Cleo in the 1919 film The Thunderbolt. It remains uncertain if this is the same woman was married to Lenn C. Harris. However, between 1917 and 1920, the Harrises separate, but fail to file for divorce.

At the beginning of 1921, 31 yrs. old Harris is living in Norfolk, Virginia. He proposes to 22 yrs. old Marie Bowers (1898 of Madison, Wisconsin. Marie is the daughter of Frank Bowers and Florence Rockwood. On Feb. 1, 1921, the couple weds in Southampton County, Virginia. At the time, Harris lists his occupation as scenic artist.

In 1922, Harris was living in Cincinnati at flat 6, 100 Malvern, with Harris employed as a scenic artist.  Newspaper article report that Harris had recently moved to Cincinnati from New York to paint Sampson and Delilah and The Zoo  for the Grand Opera. Of his contribution, on July 23, 1922, The Cincinnati Enquirer reported, “Special scenery has been built for the production by Lenn Harris, scenic painter, who came to Cincinnati from New York for this purpose.”

He continued to work as a scenic artist and decorator, eventually settling with Marie in Evansville, Indiana. On Jan. 10, 1925, Lenn Harris was credited with the interior work for the Agoga Tabernacle that had been erected that winter. The article reported, “Interior work on the tabernacle is being completed this week and the scenery for the  platform to be used in making it practical for a stage for various kinds of entertainments is being made by Lenn Harris. First of the entertainments planned is the moving picture, ‘Joseph and His Brethren’ which will be shown at the tabernacle January 22-24.” Four days later, Marie would discover that Harris had been previously married and never divorced his first wife.

The marriage is annulled four years later, with Bowers citing bigamy. The scandal makes newspaper headlines throughout the region.  On June 18, 1925, The Evansville Journal of Evansville, Indiana, reported, “Mrs. Marie Harris did not like the idea of being Wife No. 2. Upon her alleged discovery that her husband, Lenn Harris, was married to another woman, said to have been Miss Fredia Geisel, she went to a lawyer and Thursday asked annulment of her marriage in an action filed in the circuit court. The wife No. 2 and Harris were married Feb 2, 1921, according to the complaint, and on Jan. 15, this year, the plaintiff claims she discovered that her husband was also the husband of another woman.” On August 20, 1925, the Evansville Press announced that their marriage was annulled.

Freda had also married again before divorcing Haris. On January 21, 1922, she married Fred H. Schaefer in Kenosha, Wisconsin. She was mentioned in Platteville, Wisconsin, newspapers in 1926. On Aug. 4, 1926, The Platteville Journal and Grant County News reported, “Mrs. Schaefer of Milwaukee has been here the past week visiting her sister, Mrs. W. Huehne. She is head lady in the Avenue Fashion Shop of that city. It is many years since she has been in Platteville. Her father, Rev. Giesel, moved from here in 1909. Mrs. Schaefer was formerly Miss Freda Giesel.”

Lenn Harris continued working as an itinerant scenic artist throughout the Midwest, eventually settling in California by 1926. He likely moved after his marriage to Marie Bowers was annulled in 1925. In 1927, Thomas G. Moses hired Harris for the Oakland Scottish Rite. Harris works for Moses from Oct. 12, 1927, and March 6, 1928.  He marries Dorothy E. Schick (1901-1980) the next month.

Despite Harris’ experience, the scope of the Oakland Scottish Rite scenery necessitated a second artist when Moses left for Salt Lake City in early November 1927. This is when Moses hired scenic artist Earl Suddeth to help Harris during his trip to Salt Lake. Of the addition, Moses wrote, “I had to get Earl Sudderth to help Harris while I was back in Salt Lake on the 10^th of November to get ready for the Dedication where I found plenty to do in order to get ready.” Harris’ contribution to the Oakland Scottish Rite was featured in the Oakland Tribune on Dec. 12, 1927. The article announced, “Stage Setting and Scenery are Artistic. Appliances Are in Harmony with Other Splendors of New Building.” In the section entitled, “Rich Stage Settings,” the article reported, “All painting was done at the new Temple where the designs could be discussed with the Oakland Scottish Rite officials. The excellent result of the cooperation is apparent in the finished work. Earl Sudderth and Lenn Harris, local artists, aided Moses in the actual painting of the huge settings.”

After completing the Oakland Scottish Rite project, Harris applies for a marriage license. On April 17, 1928, the San Francisco Call Bulletin  lists Lenn C. Harris and Dorothy E. Schick.

Dorothy was divorced with a young daughter named Beverly. Little is known of Dorothy’s past, but their marriage lasted for only two years.  During this time, Harris continued to work as a scenic artist in California, settling near Los Angeles.

Harris’ name again made Long Beach news on Feb. 10, 1929. The Press-Telegram credited Harris with two painted scenes depicting street and bazaar scenes in “the picturesque North Africa City of Tunis” for the showrooms of Long Beach. Oldsmobile dealer at 427 American Avenue. The article reported, “They were done by Lenn Harris, well known motion picture studio artist and director of the pictorial division of the Douglas Fairbanks studios.”

The 1930 US Federal Census listed Lenn and Dorothy Harris living with eight-yrs. old  Beverly in Beverly Hills.  Still listed as a commercial artist, most of their neighbors were employed in the motion picture industry.

Harris died on June 26, 1930.

I have yet to locate any other information about Harris’ life or career at this time.

To be continued…