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Copyright © 2021 by Wendy Waszut-Barrett

In 1924 Thomas G. Moses wrote, “During July, we had a number of designs to make.  We closed an $18,000.00 contract at Memphis for the Civic Auditorium; very big drops and asbestos curtains.”

This was the new Memphis Municipal Auditorium in Tennessee. The facility had been in the planning stage for quite some time, with early committees forming in 1912. By 1919, the architect’s drawings were published in local newspapers. The idea was to not only build an amphitheater that could accommodate eleven thousand people, but also design one that could be converted into an opera house that could accommodate between two-thousand and seven-thousand audience members. There would be a stage, orchestra pit, tickets offices and all other requirements for a modern theater. The first public gathering of the auditorium was on June 3, 4, and 5, 1924 for the United Confederate Veteran’s Reunion. Although the building was not complete, visitors were able to gather in the main auditorium. The formal opening was on October 17, 1924 with two free concerts conducted by John Philip Sousa, one in the afternoon and one in the evening.  Dedicatory exercises as part of the evening’s entertainment.

The auditorium was located in downtown Memphis on the corner of Poplar Avenue and Main Street, right next to the railroad.  The facility had a seating capacity for 11,000 and boasted 30,000 square feet of display space.  It was a massive undertaking with an electric movable stage.

In 1926, “The Story of the Memphis Auditorium” was published and described building. One section thoroughly described the auditorium and stage: “The history of the large auditorium in America has been one of steady progress from the armory and amphitheater type of structure to the modern convention hall and opera house of today. The program for the Memphis Auditorium was an ambitious one, calling for a large convention hall seating about twelve thousand, with arrangement to be provided for converting it into an opera house of considerable size, with provision for a stage to accommodate the most elaborate scenic effects” (page 39).

Later in the book, the stage house and mechanics were described in detail:

“The stage is forty-two feet wide by the entire width of the auditorium back of the arena wall behind the circle of boxes and seats, which is one hundred thirty-five feet on the floor and one hundred thirteen feet between the fronts of the balconies above, the latter being the actual width of the enclosed stage house. Among the many peculiar problems of this building was the design and construction of the stage house. A stage house must be a fireproof structure, generally built of concrete or brick walls, be provided with gridiron arrangement for raising and lowering scenery and for hanging same when it is not needed on the stage. It must have a steel asbestos curtain to cover the entire stage opening which will automatically close in case of fire, and in an ordinary theater has a rear stage door for taking scenery in an out. Dressing rooms are generally arranged on either side of the stage. 

“It was found necessary to build the upper part of this stage house of structural steel with reinforced concrete upon the inside from a height of forty-five feet to the arena floor to the roof of the building. This necessitated dropping the ceiling of the north hall at the point noted one hundred sixty feet from exchange street wall, and designing that part of the building in a separate unit as a large auditorium for the giving of operas, fetes, etc. from the stage. The stage house proper, then, is a solid concrete wall under a concrete roof one hundred and thirteen feet long by forty feet deep long and forty feet high at its highest point. This was ample height to install all machinery, gridirons, etc. When the stage is in use from wither hall, walls of special fireproof construction are let down by machinery from above, making a hollow wall below built up of steel and asbestos products, with a large air space in between. When these walls are in place for a theatrical production the stage house is similar to that of any other theater, with the exception of the method of construction and the fact that the stage has a proscenium opening on either side.

“The curtain openings are each seventy by thirty-two feet. The stage is deep enough to receive one hundred and twenty lines of scenery, which is all that could be required in present day theatrical performance, and up-to-date opera company using only about eighty. The stage house and openings are as large if not larger than in any other country. All of the fireproof walls, etc., which can go below permanent stage house can be raised into the latter by means of motors located on the gridiron level by the turning of a switch. The stage walls may be raised slowly in at this manner in forty-five minutes; while a complete change from two halls with stage into a large amphitheater may be made in eight hours.

“The large truss at the north side of the stage house, which carries a large part of the load, has a span of two hundred feet and weighs sixteen hundred tons. All of the steel work in connection with the stage house is fireproofed with hollow tile or concrete. The stage itself when in position is five feet above the arena floor and three feet above the floor of the concert hall. This stage is set on a series of screws which operate by motors to raise or lower it to any  desired height. When the stage is lowered to the arena floor and all walls are raised to the attic, a fireproof collapsible ceiling is suspended over the opening of the stage house and below the hanging scenes, asbestos curtains, suspended walls and border lights. When this is done the auditorium is open for its entire length. The boxes, circle seats, and balcony seats continue south below and at each end of the stage house, so that the amphitheater is two hundred feet wide for a distance of two hundred and twenty feet from the north wall and one hundred and thirteen feet wide from this point to the south wall.

“At each side of the stage house above the balcony and on a level with the bottom of the permanent stage house – that is, forty-five feet above the arena floor – is a space forty-two feet wide by fifty-five feet long, designed to be used as an organ loft. These is also a connecting space eleven by one hundred and thirteen feet south of the stage house at this same level, which will be used in distributing the sounds from the two parts of the organ into the concert hall when the music is wanted there. The organ blowers and motors are all on this same level. Baffles will be used to direct the sound room from the organ to either the north hall or the south hall as desired. The organ is not installed at the time the building was built, but is  now being provided for.

“Another very necessary feature of an auditorium which has full theatrical equipment is ample dressing room area. This is provided for in a unique way. On the stage floor level at either side are two star dressing rooms with private toilets, a stairway up to ta mezzanine dressing room section and a door to the main corridor thirteen feet wide, into which auto trucks can be driven with scenery, equipment and trunks. The larger pieces of scenery are brought in through the center, north or south doors, as the case may be, to the back of the stage. The orchestra pit has the usual connection to men’s chorus room and retiring rooms in the basement.”

By 1930, the building was renamed the Ellis Auditorium after the passing of Robert E. Ellis.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

In 1924, Thomas G. Moses wrote, “Went down to Iowa where I closed another order in the State Prison hall.”

Of all the jobs that Moses mentioned in his memoirs, this one surprised me.  I guess that I never really thought about state prisons as a theatre client. In many cases, the theaters were referred to as “chapels,” seating hundreds of inmates for a variety of events and lectures. At Iowa’s State Penitentiary and Men’s Reformatory there were prison bands. Orchestras and choirs were organized at both men’s and boy’s reformatories in the state. These groups presented concerts on Sunday’s and holidays. Visitor’s gate receipts also funded other performances, lectures and concerts. By the 1930s, movies were offered to the prisoners.

Locating any images of prison theaters became quite a challenge. I finally came across an image from one at the state prison in Des Moines, Iowa. It made me think of the bare-bones academic stages or Liberty theaters during WWI.

As I searched the 1924 newspapers for articles about any mention of a prison performer, one particular story caught my eye. On March 30, 1924, the  “Des Moines Register” published a full-page article that headlined, “Sweet Alice, Omaha Beauty, Prefers Saving Souls to Stage. She is back home singing for poor and unfortunate.” 

The article described the life and career of Alice (Alyce) McCormick, who started her career at the age of four singing to prison inmates. The article detailed, “Alyce was the first girl who ever sang in the Charlestown prison,” said Major McCormick. “No women had ever before been allowed there until Mrs. Booth secured the consent of the prison authorities to conduct religious services. That was in the days when prisoners’ beards were allowed to grow. “Alyce, a tiny little girl with long auburn curls, faced rows of grizzled whiskered faces and sang without a trace of fright. Many of those men had been imprisoned for long terms of years without seeing a single woman or child. Tears came into their eyes as Alyce sang and as I carried her from the building many reached out gently and touched her clothing and caressed her curly head,” said her father. During the summers since that time Miss McCormick has sung in the prisons of Trenton, N.J., Joliet, Ill., Anamosa, Ia., Lincoln, Neb., Leavenworth and Lansing, Kansas, Los Angeles, Cal., and Pontiac, Ill. the Charlestown prison in Charlestown, Mass.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1924 Thomas G. Moses wrote, “Went to Saginaw where I closed a small order for Masonic work.”  The small order was likely for the temporary Masonic quarters after the 1924 fire.

That spring, the Saginaw Masonic Temple burned. On March 11, 1924, the “Lansing State Journal” reported, “SAGNIAW, March 11. – Fire damaged the South Saginaw Masonic Temple early Tuesday, destroying the two upper floors of the building, occupied by three Masonic orders and a lodge of Maccabees. A dry goods store on the first floor of the building was flooded with the water poured on the fire. The damage may reach $70,000.” As in most cases, the Masons rebuilt their home, but outfitted temporary quarters during the planning and construction phase.

In 1926, Saginaw’s new Masonic Temple adjoined and equally new Temple Theater, located at 201-211 North Washington Avenue.

This reminded me the early days when Sosman & Landis first opened their doors. Moses may have been taking direction from the old Sosman & Landis playbook. In the beginning, the firm followed theatre fires, securing one project after another. In many ways, it was almost guaranteed work; there was always a plan to rebuild.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1923, Thomas G. Moses wrote, “June 22^nd, I took a run over to Ft. Scott and met the committee on Masonic work.  At this new Temple Roy Givens came down and we had quite a showing.  Our old work is in the present Temple and as they are well please with it, I feel that we stand a good chance on it, but one can never tell.”

After closing the Fort Leavenworth Masonic scenery contract in 1924 Thomas G. Moses wrote, “Went to Kansas City where I met Roy Givens.  A day’s rest in a hotel bed made me fit for another jaunt on to Denver where we rested for a day before going to Cheyenne…. Givens went back to Denver after we had a showing of our model, without getting much encouragement as to our chances on a $16,000 contract.”

I am still a little perplexed about Given’s relationship with Moses. In 1920, census records report that Givens was the manager of a uniform factory. It is possible that Givens was supplying fraternal regalia, working with Moses to deliver complete installations, similar to the agreement between Bestor G. Brown of M. C. Lilley and Joseph Sosman of Sosman & Landis. They worked together to delivered scenery to Scottish Rite stages during the 1890s and first decade of the twentieth-century. Moses may have been trying to establish a concrete Masonic link with western Masons again.

James Roy Givens was born on August 23, 1885 in Salina, Kansas. He was the son of John Wesley Givens (1842-1921) and Penina Jane McCall (1847-1966). As a young many, “Roy” Givens was featured as an excellent student, participating in both musical and theatrical productions. He went on to law school, graduated from college and was admitted to the bar by June 1905. He even made the headlines with a few of his cases.  And then he joined the fraternity…

On Oct. 20, 1906, the “Salina Evening Journal” announced, “Roy Givens and George Meyers received the first degree in John Brown Lodge, A.F. and A.M. last night” (page 3). This was  John H. Brown Lodge, No. 216, A.F. & A.M.

By the next spring, the “Salina Semi-Weekly Journal” announced “Roy Givens will be secretary to Grand Master Wellington” (1 March 1907, page 7).  The article reported, “Roy Givens, a young man who has lived in Salina all his life, and who for the past year has been private secretary of T. L. Bond, grand master of Kansas Masons, left Wednesday for Ellsworth, where he will take a similar position with E. W. Wellington, who was elected to succeed T. L. Bond as grand master at the grand lodge at Wichita last week. Roy is an excellent stenographer and his association with Mr. Bond for the past year, and the fact that he took care of a great deal of the grand master’s private Masonic work, makes him peculiarly fit for the position. He has many friends in Salina who will regret to see him leave this city, but he will not be so far away to come home for a visit occasionally.”

Grand Master Wellington was Waldo Wellington. A year later the two were mentioned in the newspapers again. On Nov. 12, 1908, the “Ellsworth Messenger” announced, “Roy Givens, of Kansas City, spent a few days this week in Ellsworth with his friend, Waldo Wellington. While here he received his degree in Ellsworth Chapter, No. 54, R. A. M.” This means that after completing the third degree and becoming a Master Mason, he entered the York Rite.

In 1911, Givens married Florence Grace Robb (1882-1964). The couple celebrated the birth of two daughters Nina-Belle Givens (1912-1983) and Sarah Jane Givens (1915-2010). Both were born in Kansas City, Missouri.

Over the next few years, Givens was repeatedly connected with the fraternity, and then nothing.  Moses only mentioned Givens in 1923 and 1924. By 1930, Givens was the manager of a refrigeration factory in Kansas City.  He continued in that capacity for the next decade. I have uncovered very little else so far. Givens passed away on Nov. 16, 1959 in Kansas City, Missouri. 

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

My post about the Scottish Rite scenery at Fort Leavenworth from 1924 included the standard Sosman & Landis design for the 18^th degree. Labeled “Peristyle,” the design included a landscape with river dividing the scene, a pelican feeding its young, and a few other symbolic objects. The pelican was supposed to be piercing its breast to feed its young – a symbol of sacrifice.

This image is not unique to Freemasonry at all. It is found on stained glass windows in churches and even on the Louisiana state flag.

At Fort Leavenworth, however, Moses painted the pelican is feeding its young a worm.

He had done this before – many times. Besides, pelicans are water birds, and don’t really search for worms in the ground. I had always wondered who kept adding the worm and should have made the connection long before now. After all, in 1904, the artistic direction at the studio was handed over to Moses when he returned and became the vice-president of the firm. Moses and Fred Megan purchased the Sosman & Landis name after the company liquidated in 1923 and continued to deliver Scottish Rite scenery. It was seeing the pelican with a worm on the Fort Leavenworth scenery this week that made me realize Moses was the culprit. After all, he didn’t become a Mason until 1925, so it is understandable. What I find humorous is that it wasn’t immediately pointed out, or quietly fixed over the decades.

There are few Scottish Rite scenes that were solely designed for Masonic degree productions. Most stage settings that were used by the Fraternity originated for other venues. Many stage compositions had been used for centuries in a variety of theatrical and operatic productions. Palatial interiors, cathedrals, catacombs, dungeons, classical interiors, mausoleums, Egyptian temples, desert scenes, forests, rivers, landscapes, Gothic armories, rocky coasts, and garden scenes were all used for both commercial and fraternal productions.

The “INRI Peristyle” scene for the eighteenth degree, however, was unique. It would become a standard setting in many Southern Jurisdiction Scottish Rite theaters during the first decade of the twentieth century. This scene used a translucent lighting effect. The words “Infinity,” “Nature,” “Reason,” and “Immortality” were typically placed at the tops of columns. The first letter of each word (I.N.R.I.) was backed with red silk, allowing it to glow.

I am frequently asked questions about the subject matter and necessary symbolism in degree production scenery. How did the artists know what to paint? How did the Masons ensure appropriate symbolism on each backdrop without revealing any secrets? Did all of the scenic artists understand what they were painting on drops? The short answer is, “No, look at the pelican; it’s a perfect example of a detail being lost in translation.”

The pelican is an integral part of the eighteenth degree. In many stage settings it either appears on the backdrop or cut drop. Sometimes it is included as a set prop or light box.

Screwing up this significant image is a big deal, and yet many Scottish Rite scenes still have a Pelican feeding a worm to its young.

This major faux pas, however,  was not unique to Sosman & Landis. Once Volland installation at the Scottish Rite in Hastings, Nebraska has a lone Pelican piercing its breast – no young anywhere in sight. It’s like a pelican suicide.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1924 Thomas G. Moses wrote, “On my way to Fort Leavenworth very soon, where I closed a small Masonic job of $2,000.00… I started home by way of Omaha.  On arriving home, I started to work on Fort Leavenworth drops…Megan on the road most of the time makes the studio work so much harder for me, especially when I want to paint more.”

Moses’ $2,000 scenery project was for Boughton Memorial, Fort Leavenworth, Kansas. The Masonic Temple was dedicated during the summer of 1922.  On June 23, 1922, the “Leavenworth Times” reported, “Hundred Witnessed Dedication at Fort. Impressive Ceremonies Held Last Night at Boughton Memorial, Masonic Temple.” The article continued, “One of the most impressive and interesting ceremonies ever held by Masons at Fort Leavenworth was held last night when Boughton Memorial, the Fort Leavenworth Masonic Temple, was dedicated. There was an unusually interesting program and hundreds of Masons, including two thirty-third Degree Masons, Col. E. B. Fuller and W. L. Burdick.” (page 1).

On June 12, 1924, the “Plainville Times” announced, “Army Lodges Confer Scottish Rite Degrees” (page 6). The article reported, “Fort Leavenworth, Kans. – During the great war the Scottish Rite Bodies of this city were of necessity somewhat disorganized but the bodies are now re-established and are comfortably housed in their new temple. Considerable equipment has been provided and the work is being conducted with efficiency and enthusiasm.”

The “considerable equipment” was the new scenery and properties painted by Moses for the stage. This “small Masonic job” both referred to the number and the size of the drops. The drops are approximately 12-feet high by 18-feet wide.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

On Nov. 14, 1921, Hugo R. Volland passed away. Six months later, Patrick J. Toomey died on March 12, 1922. Then, Volland’s wife Laura passed away on January 12, 1923. Within fourteen months the president, vice president and secretary/treasurer of Toomey & Volland passed.

The 1914 St. Louis Directory listed Patrick J. Toomey as the president of Toomey & Volland, Hugo R. Volland as the secretary of Toomey & Volland, Laura A. Volland as the vice-president of Toomey & Volland. Toomey was the senior partner, a remarkable and talented man. Volland was also talented, and the key individual who landed many of the Masonic projects. The partnership was extremely successful by 1920, continually landing one large project after another. Although Toomey’s son did not follow in his footsteps, both of Volland’s son’s did follow there father and were working for him in 1920..

That year Louis Jerome Volland and Victor Hugo Volland worked as scenic artists at the Toomey & Volland studio. In the end, they were the two who lost the most, but also gained a firm.

I am intrigued with Laura Volland’s involvement with the company. She was not an anomaly; it was not unusual for a wife to fill the position of president or vice-president at a scenic studio.  I think of David Hunt’s wife who was listed at the president of New York Studios around this same time.  Many women were involved with the studios, both on paper and in the offices.

On Jan. 13, 1923, the “St. Louis Star and Times” announced the passing of Mrs. Laura Volland (page 3). Her obituary notice reported, “Mrs. Laura Volland, 5865 Enright avenue, died in the women’s retiring room at the American Theatre at 10:10 p.m. yesterday a few minutes after she had complained of feeling ill. The cause of death was given at heart disease.

Hers was the third death of persons stricken in local theaters in the past week. Last Saturday night Robert E. Adreon, president of the American Brake Company, collapsed and died at the Orpheum, Joseph Stanhope, an actor in the Woodward Players, collapsed on the stage at the Garrick Saturday evening and died early Sunday morning.

Mrs. Volland had gone to the American with her sons, Louis J. and Victor H. Volland, and a young woman.  She complained of feeling faint and went to the women’s rest room, where she collapsed.

Dr. George T. Gaffney, 4942 Laclede avenue was called from the audience to attend her. An inquest will be held Monday.

Mrs. Volland, who was 51, is the widow of Hugo Volland, treasurer of the Toomey & Volland Scenic Painting Company. Volland also died suddenly, in November 1921, of heart disease. His widow lived with her two sons and a daughter, Miss Rose Volland. Funeral services will be held Monday at the home with cremation at Valhalla Cemetery.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

A business can change in the blink of an eye, especially when there is a change in command.  From Nov. 1921 to March 1922, the Toomey & Volland lost both of its founders; the death of each one was a surprise.

On Nov. 14, 1921, the “St. Louis Star” announced Hugo R. Volland’s passing. His obituary notice reported, “Hugo R. Volland, president and treasurer of the Toomey & Volland Scenic Company, died at his home, 5865 Enright avenue, at 4:40 a.m. today. Volland was a 33d honorary degree Mason. Two weeks ago he suffered a nervous collapse. He is survived by the widow, Mrs. Laura Volland, two sons, Louis J. and Victor, and a daughter, Rose. Keystone Lodge, of which he was a member, will be in charge of the funeral Wednesday, from the Scottish Rite Cathedral, Seventeenth and Locust street. It will be preceded by the Knights of Kadosh funeral service at the cathedral tomorrow midnight.”

On November 16, 1921, the “St. Louis Post-Dispatch” reported, “More than 1,000 persons last night witnessed the unusual midnight, or Kadosh, services of the Scottish Rite Masons over the body of Hugo R. Volland, 55 years old, scenic artist, thirty-third honorary degree Mason and Knight Templar, who died last Monday night at his home 5865 Enright avenue. The services took place in the Scottish Rite Cathedral, Seventeenth and Locust streets. The cathedral auditorium was packed to capacity by the time services began. Many persons, unable to obtain seats, found there was into the balcony. At 11:58 o’clock the lights in the auditorium gradually dimmed until the entirely extinguished, except nine candles placed at the head and foot of the bier. The coffin rested directly in front of an iron cross, behind which was the stage. The only remaining lights were in the choir loft, where red lamps burned for the singers. At midnight a deep booming gong, hidden behind curtains on the stage, sounded, and marked the entrance of the first of thirteen knights, each clad in black gown and hood and carrying a lighted candle. As each minute was marked on the gong a knight advanced until thirteen hooded men surrounded the coffin of their late brother. Silence Follows a Bugle  Sound. As the last k night sounded from the gallery, and this was followed by a period of silence. Jesse N. Watson, commander, then recited services for the dead and called on the knights who might feel so deeply moved, to step forward and accuse the dead brother of any wrong done prior to his death. One by one three knights addressed the commander, who stood between the stage and the cross, and, in grave tones, declared themselves, were not perfect. Watson then grasped a small hammer and struck three times on the main shaft of the cross, uttering the words, “Then let the grave be ready to receive its dead.” Two knights stepped forward, lifted Volland’s sword from the lid of the casket, and removed the lid. During the ceremony a violin solo by Fred Sultan, accompanied by O. Wade Fallert, organist, was played softly. Two knights surrounding the bier were called upon to advance and relieve the body of ‘petty baubles and cords that bind the hands and his feet. This part of the service was explained, is symbolic of the soul taking flight to another world. At 1:35 a.m. the hooded knights advanced to the bier and, after dipping their fingers in pure water, touched the breast of the dead brother, at the same time pronouncing the farewell: ‘My brother, now thou art dead to this world and livest in the Lord.’ The choir then sang ‘Nearer, My God, to Thee,’ and the nights, extinguishing their candles departed from the auditorium.”

Six months later, on March 13, 1922, Volland’s business partner and friend also passed.  On March 13, 1922, the “St. Louis Post-Dispatch” announced “P. J. Toomey, Pioneer Scenic Painter Dies.” The newspaper reported, “P. J. Toomey, 71 years old, one of the pioneer scenic painters of St. Louis, died suddenly at 10 a.m. yesterday as the result of an illness with which he was attacked while at mass in St. Roch’s Catholic Church. Rosedale and Waterman avenues. Physicians said death was due to cerebral hemorrhage. Worshipers sitting near Toomey said they did not observe anything unusual in his actions or appearance during the services, until he began breathing heavily and slumped forward in his seat. Several men who were sitting nearby carried him to one of the schoolrooms, next door, and a physician was summoned. Toomey’s son, Dr. Noxon Toomey, was sent for, but Toomey was dead when he arrived. The son said his father complained of feeling ill. Toomey painted the scenes for the first floats of a Veiled Prophet’s parade. He continued this sort of work for 25 years, giving it up recently, when a corporation formed to do the work took it over. He also did most of the painting for some of the old theaters in St. Louis, among them Pope’s, the Olympic and the Century. He at one time painted scenes for the Knickerbocker Theater, New York City. Toomey was one of the founders of the firm Toomey & Volland, scene painters 3127 Cass avenue. His first studio was opened in St. Louis in the Olympic Theatre Building, in 1867. The room in which this studio was located was destroyed recently. Funeral services will be held Wednesday at 9 a.m. at the Church of Our Lady of Lourdes, St. Louis County, Interment will follow in Calvary Cemetery. Toomey is survived by his widow, Mrs. Mary Vogt Toomey, and the son.”

The last line of Toomey’s obituary noted, “Hugo R Volland, the other member of the firm, died Nov. 14, following a paralytic strike.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1924 Thomas G. Moses wrote, “On the [March] 30^th, I stopped at St. Louis, where Kirke met me at the station and we went to Volland’s studio.  It is some studio.” Toomey & Volland built a new studio in 1922. Work was pouring in, especially Masonic scenery orders.

Moses continued, “They were very anxious to have me come down and help them out, as they had more work that they could handle.” I bet, as they had kept winning bids from Sosman & Landis over the past few years. Moses’ bid for the Chicago-based firm was always higher than their St. Louis competitors, especially in the post-WWI years. Moses was a close friend both Patrick J. Toomey and Hugo R. Volland. He repeatedly mentioned stopping by the Toomey & Volland shops whenever he was in St. Louis, Missouri.

There was another issue at play when Moses’ mentioned stopping by Volland’s in 1924. Both of the studio founders passed away within six months of each other, and Toomey & Volland transitioned into Volland Scenic Studios. Volland’s son Victor was now running the business with his own ideas. The two founders, both skilled scenic artists in their own right, were gone.

It has been a while since I covered the history of the Toomey & Volland Studio, so I’ll do a brief recap. Then I’ll cover the collapse of the original firm between 1922 and 1923.

Volland Studios evolved from an earlier partnership known as Toomey & Volland. Moses was close friends with Toomey.  Toomey & Volland evolved from an earlier scenic art partnership called Noxon & Toomey. Thomas C. Noxon and Patrick Joseph Toomey joined forces in approximately 1867. Interestingly, Volland Studio would claim 1869 as their establishment, but Noxon was the firm’s first president and senior partner in the company.

Noxon and Toomey expanded in 1881 and changed its name to Noxon, Albert & Toomey. The famed Ernest Albert was added to the company, while Toomey was reported to be “the itinerant member of the firm” (Richmond Dispatch, 24 Jan 1886, page 3). The company ran regional offices with studios in St. Louis, Missouri, Chicago, Illinois & Cedar Rapids, Iowa. Noxon, Albert & Toomey lasted for almost a decade, but Albert eventually returned to Chicago to partner with Walter Burridge and Oliver Dennett Grover, forming Albert, Grover & Burridge. This was immediately after Moses partnered with Burridge, forming Burridge, Moses and Louderback. By 1891, Albert, Grover & Burridge partnered and built an innovative scenic studio in Chicago with twenty paint frames and a display area to fully light and stage completed sets for clients.  Although there was much promise, the firm went bankrupt in two years.

The majority of late-nineteenth-century and early-twentieth-century scenic art partnerships formed quickly; they came and went. In some ways, they were like the type of fire-works that make a big boom and then quickly fizzled to the ground.  Very few companies lasted the test of time, with both Sosman & Landis and Volland Studios being the exceptions. However, Toomey & Volland really did not withstand the test of time, as the partnership only lasted two decades. Volland Studios certainly lasted longer, but that it wasn’t a partnership; Volland became a family firm.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

In 1924, Thomas G. Moses wrote, “Fred and I took an auto trip to Fort Wayne and got the wires laid for the Shrine work.”  They were bidding on scenery for the new Mizpah Shrine Temple at 409 West Berry Street in Fort Wayne, Indiana. On April 24, 1924, the “Garrett Clipper” reported, “The general contract for the construction of the auditorium of Mizpah Shrine temple to be erected in Fort Wayne has been let to Max Irmscher & Sons of that city and excavations were started Thursday morning. The structure will be finished some eighteen months from now or around September 1, 1925.”  Designed by Fort Wayne architect Guy Mahurin, the building was an interesting mixture of eastern and western elements. The stage was intended to host professional productions. From the beginning the Masons anticipated that the stage would be used for much more than Masonic activities.

In 1925 Moses wrote, “Fulton and I started our western work by making a lot of models and sketches for a big job in Fort Wayne, Indiana, all Shrine work.  The Mizpah Temple.  We have endeavored to give them some new ideas and I hope they will go…After a number of delays, we expressed our models to Fort Wayne.”

Moses landed the contract and painted everything on site. That fall, he recorded, “Arrived in Fort Wayne on September 17^th and found everything in good shape; a good bridge and frame and a drop on the frame ready for me. I got busy the next day and did a 30’ x 75’ wood in a day and a half – quickest time I ever made, and for one who had not worked in five months, I considered it some feat.  I found that I was in good condition and capable of doing a good day’s work.” He was 69 years old and still incredibly fast at scene painting.

After the project was completed, Moses even stayed for the opening ceremonies, writing, “I finished on time and enjoyed my Fez parade and mixing with real fellows, especially the stunts that I have been working on for so many years.”

The opening of the Mizpah Shrine was a three day event that ended with a production of “Aida.” On Nov. 18, 1925, “The Times” announced, “Fort Wayne, Ind. Nov. 18. – A three-day program marking the dedication of the new $1,000,000 clubhouses and auditorium of the Mizpah Shrine temple was opened here today with hundreds of Shriners from Northern Indiana, Ohio and Michigan in attendance” (Muncie, Indiana, page 6).

On Nov. 19, 1925, “The Times” reported, “With 3,000 nobles from all over Indiana in attendance, the three-day program incident to the dedication of the new $1,000,000 building of the Mizpah Shrine Temple was opened here today. Ritualistic services of the order during the day were in charge of Elias Jacoby, of Indianapolis, past imperial potentate. The day’s events closed with a grand ball in the auditorium of the new temple.  Tomorrow a class of 300 novices will cross the hot sands to Mecca, the initiation being in charge of Imperial Potentate James C. Burger of Denver, Col., and his divan. A banquet will be served in the evening. The dedication ceremonies will come to a climax Friday evening when the Chicago Grand Opera Company will present Verdi’s “Aida,” with Rosa Raisa singing the title role.”

I was surprised about the addition of n operatic performance.  More information was published in the “Steuben Republican” – “The Chicago Grand Opera Company is now in the midst of its season at the Auditorium, Chicago, but will break into its season there and transport the entire immense company and massive scenic equipment to Fort Wayne for the one appearance at the new Mizpah Temple” (Angola, Indiana, 4 Nov., 1925, page 4). That had to have cost a pretty penny at the end of the day, as the production traveled with a 65-piece orchestra too.  Membership in the Shrine was skyrocketing and the coffers were filling fast.  This did not last, and the Masons could not hold onto their grand edifice.

The building is now known as the Robert Goldstine Performing Arts Center. 

To be continued…