Information about historic theaters, scenic art and stage machinery. Copyright © 2024 by Wendy Rae Waszut-Barrett, PhD
Copyright © 2021 by Wendy Waszut-Barrett
Here are two examples of a garden drop design by Twin City Scenic Co. artists. The design was used for the Brown Grand Theater in Concordia, Kansas, and St. Patrick’s Parish Hall in Shieldsville, Minnesota. I restored the Brown Grand garden drop in 2002 and the Shieldsville drop in 2017. It was fun to see the shift in technique and color palette by Twin City Scenic Co. artists over the course of a decade.
Copyright © 2021 by Wendy Waszut-Barrett
In 1923 Thomas G. Moses wrote, “Did a model for the Dallas Shrine, which was accepted, and we built it and found we were way too low, as the carpenters managed to put in a lot of time.” The project was for ceremonials activities conducted by Hella Temple, A.A.O.N.M.S. Desert of Texas, Oasis of Dallas.
On May 5, 1923, the “Courier-Gazette” reported, “The Dallas Shriners are making preparations for the entertainment of five thousand Nobles who are to assemble from various sections of the state for the magnificent spectacle and initiation” (McKinney, TX, page 2). A week later, the “Corsicana Daily Sun” reported, “The members of Hella Temple under the leadership of its Potentate Al. H. Reed, will gather in Dallas on Friday, May 11th, for the spring Ceremonial Session at which time it is expected that over four hundred candidates from the jurisdiction will be initiated. A large amount of the fees received by the Dallas Shrine from initiation of candidates is being used in payment of the hospital appropriation. The Dallas Shriners are making preparation of the entertainment of five thousand Nobles who are to assemble from various sections of the state for the magnificent spectacle and initiation” (May 12, 1923, page 8). At the ceremonial held in May the Dallas Shriners took up a collection for their new children’s hospital, raising an additional fund of $9,000” (The Marshall Messenger, 16 June 1923, page 4).
By 1923, Dallas had a membership of over seven thousand Nobles, the greater part of whom resided in the north, east and central Texas (Courier -Gazette, McKinney, TX, 5 May 1923, page 2). At this time, the Masonic Fraternity in the State of Texas numbered over one hundred twenty thousand. Big funds were pouring into the Fraternity, being applied to both charitable works and extravagant membership events.
Although Moses was not yet a Freemason, it was Moses’ past history with the Fraternity in Dallas that helped land the 1923 Shrine project. Moses first painted Masonic scenery for Dallas in 1909, the same years that Sosman & Landis landed six Scottish Rite contracts. Sosman & Landis delivered scenery and stage machinery to the Dallas Scottish Rite. I am including a brief recap of this project, as it provided inroads to other Masonic work in the region, especially the Dallas Shrine.
Although Dallas Scottish Rite was not completed until 1913, degree productions took place on the stage by 1909. The scenery contract for the stage was negotiated by Bestor G. Brown of M. C. Lilley & Co. and subcontracted to Sosman & Landis Scene Painting Studio. In a July 7, 1912 letter from Brown to William G. Bell of the Austin Scottish Rite, he included information about the Dallas Scottish Rite stage: “the Dallas stage has in the neighborhood of 25,000 lineal feet of wire and rope in its installation.”
On April 26, 1913, the “Dallas Morning News” described the Masonic Cathedral and Architect Herbert M. Green’s contributions. Keep in mind that the theater of the building was referred to as “the great degree room.” The article reported, “The largest stage in Texas is in this degree room – and the largest pipe organ…a 24 feet deep and 60 feet in width. One hundred and nineteen scenic drops are so delicately counterweighted that the stage picture can be changed in two seconds, and if necessary, in the dark.” Here is a link to my post about the 1909 Dallas Scottish Rite scenery project: https://drypigment.net2019/01/26/tales-from-a-scenic-artist-and-scholar-part-627-the-dallas-scottish-rite-1909/
The next time Moses mentioned Masonic projects in Dallas was 1921. While in town working on the Majestic Theatre, he wrote, “During the stay, I furnished a big set for the Shrine which was done in Chicago.” This was in the midst of a massive membership explosion. From 1920 to 1926, Masonic membership in Dalla more than doubled, going from 4,098 to 9,935. This was during a time when lodges all over the country churned out members for the sake of record membership numbers. It is really a perfect example of quantity over quality, and quantity secured unprecedented funding.
Moses was still completing projects for the Dallas Shrine in 1926. That year Moses wrote, “Several drops for the Dallas Shrine gave us another little boost in color, also several drops for Detroit.” The size of Masonic projects kept the studio afloat.
To be continued…
Copyright © 2021 by Wendy Waszut-Barrett
Wood backdrop by the Twin City Scenic Co. 1907. This is part of a collection that I restored in 2002.
Here is a link for more information about the the history of the theater: http://www.browngrand.org/support
Copyright © 2021 by Wendy Waszut-Barrett
In June 1923, Thomas G. Moses presented a model to the Binghamton Scottish Rite for their new theater. He painted the scenery during September and October of that year. Moses’ payment for painting the scenery was $2500. It remains uncertain if this amount also covered travel and lodging expenses.
In June 1924 Moses wrote, “On June 2nd, I received $365.00 balance due from Binghamton. I had about given up all hopes of getting it.” Moses completed his work for the Binghamton Scottish Rite scenery project seven months earlier, just before the building opened in November 1923.
$365 was approximately 15% of the project, likely the amount due upon installation. To put this in perspective, $2500 in 1923 is the equivalent of approximately $38,080.99 today. The amount that Moses was waiting for ($365) was today’s equivalent of $5,559.83.
It is hard enough when a payment is past due, and there is no indication of when those funds will appear. Then there is the additional time you spend on a project trying to collect. Creating each additional invoice, letter, email or phone call all adds up, pecking away at your salary. I think of Sosman & Landis representatives traveling across the country to collect final payment, the additional travel fees and lodging. When several clients decide to not pay in a timely manner, it becomes a big problem.
For Moses, this was an ongoing problem during the early twentieth-century with Scottish Rite projects. They would not pay that final payment, no matter how large or small. I have to wonder how the Masons justified non-payment for the craftsmen. It flies in the face of what Masonry teaches.
To be continued…
Copyright © 2021 by Wendy Waszut-Barrett
In 1923, Thomas G. Moses painted the scenery for the Scottish Rite Theatre in Binghamton, NY. He was assisted by Edward Loitz, earning $2,500 to paint forty drops for the stage. Moses and Loitz were subcontracted by New York Studios for the work.
On October 17, 1923, the “Binghamton Press and Leader” reported, “Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets.” On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “The scenery for the auditorium was painted by the Sosman & Landis Co. of Chicago at a cost of $12,000. Much of this scenery was painted in the temple by Thomas G. Moses, scenic artist of this concern” (page 17). So why did the newspaper change from crediting associating Moses with New York Studios to Sosman & Landis over the course of a month?
Well, between Oct. 17 and Nov. 21, Moses realized that Hunt of New York studios had royally screwed him over. My guess is that Moses walked to the newspapers office and said, “When you mention my name again, make sure to add that I am representing Sosman & Landis.”
To briefly recap…Moses and Megan were in the process of purchasing the Sosman & Landis name, but could not until the company was liquidated (which would be in December). By the summer of 1923, Chicago Studios began using the Sosman & Landis address before just after negotiations with Moses stipulated that he could not use the company name until after the firm was completely. Moses’ negotiations were with Hunt of New York Studios, who was also running Sosman & Landis at the time. Chicago Studios started using the address, they sent out letters to Sosman & Landis clients announcing that they the successors to Sosman & Landis, just under a new name. Furthermore,
Moses & Megan immediately disputed the information circulated by Chicago Studios once they became aware of the deceit, sending out letters of their own and explaining that firm had not closed, just moved to a new location. On November 13, 1923, Moses and Megan sent a letter to the Scottish Rite in Salina, Kansas, writing “Dear Sir: It has recently some to our attention that a certain studio is advertising our old customers that they have bought the Sosman & Landis Company and are now operating same, combining it with their original company. We wish to assure you this is not a fact and that our original organization is intact, but our studio has been moved to better quarters.”
So, in the midst of the massive Binghamton Scottish Rite project, where Moses was painting on site for Hunt, Moses realized that Hunt had betrayed him. This is likely the reason that the second article about the scenery stated Sosman & Landis as the firm, and not New York Studios. Moses knew what Hunt was trying to do; Hunt was trying to discredit the new iteration of Sosman & Landis, the one that Moses and Megan would run. In the end, the scenery was credited to New York Studios. Moses never listed the Binghamton Scottish Rite in his resumé.
The Binghamton Scottish Rite was a massive undertaking and significant job, a credit to any studio. The Temple boasted 1,000,000 cubic feet, built at an expense of $400,000 The architects of the endeavor were Walter H. Whitlock and Charles H. Conrad of Binghamton, with the general work being done by the Mitchell Construction Co. On Nov. 21, 1923, the “Binghamton Press and Leader,” described, “Upon entering the main portal on Main street, one finds a large hall, or foyer. From this foyer one may enter the auditorium, the secretary’s rooms, a stairway and the elevator which reaches all floors. The auditorium, which is in the form of an amphitheater, occupies the greater part of the ground floor, first floor and first floor mezzanine. It has 4,700 square feet of floor space, in 28 feet in height and will seat 800 persons. It is connected with the stage by an opening 32 feet wide by 22 feet high. The stage, 1,720 square feet in area, is 30 feet deep, 57 feet wide and 58 feet high. There are 50 complete sets of scenery. At the sides of the stage, on three levels, are robing rooms representing 2,400 square feet of space” (page 17).
The fifty-seventh annual reunion of Otseningo Bodies, Ancient Accepted Scottish Rite, in the Valley of Binghamton, Northern Masonic Jurisdiction, United States of America, was held from Nov. 20-22. It was held in the new Masonic temple at Main and Murray streets. The Reunion was held in conjunction with the dedication of the new Temple.
The Scottish Rite class for the reunion was composed of 350 candidates from the six counties in the jurisdiction. Present membership at the time was approximately 1,800 members.
On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “This is the largest class of the Scottish Rite in the history of Masonry in Binghamton.” The class was named the Longley-Wear class in honor of the Rt. Rev. Harry S. Longley of Des Moines, Iowa, suffragan bishop of Iowa, a former rector of Christ church in Binghamton, and D. Walker Wear, one of the most prominent Masonic in Binghamton who had a large part in the erection of the new temple.
The ceremony of consecrating the new consistory was followed by several speeches, including Bishop Langley. On Nov. 23, 1923, the “Binghamton Press and Leader” reported, “Bishop Longley told the members that those who have in the present week taken the degrees that teach the ideals of Scottish Rite Masonry must have come to realize what a tremendous force and power masonry can wield in a world crying out for leadership. These masonic ideals must sway any movement for the reconstruction of the destruction that was started nine years ago in Europe, He declared that it is becoming more and more realized that any solution of world unrest must have as a foundation the spiritual truths taught in masonry. Civilization is at stake and he urged all to do their part by standing up for their ideals and maintaining and abiding faith in the omnipotence and goodness of God.”
The structure opened to great fanfare, with numerous articles about the endeavor, announcing “Masonic Temple is in First Rank of State Fraternal Buildings” (Binghamton Press and Leader, 17 Nov 1923 page 17). Unfortunately, this was Moses’ last painting for the Northern Masonic Jurisdiction. The rest of his fraternal work would shift to solely the Scottish Rite’s Southern Jurisdiction.
To be continued…
Copyright © 2021 by Wendy Rae Waszut-Barrett
A leg drop and cut drop painted by Toomey & Volland Scenic Studio for the Scottish Rite Theatre in Richmond, Virginia. These two pieces were relocated to the Scottish Rite in Tucson, Arizona last month (Jan 2021). When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. These two drops were rolled and placed in storage, high above the properties room, stage-left. However, the backdrop to accompany the scene is missing.
All three pieces formed a classical rotunda setting for the 30th degree (Scottish Rite degree setting). We know what the missing backdrop looked like, as this same scene was delivered to the Louisville Scottish Rite.
Unfortunately, the two leg drops were repositioned at the Louisville Scottish Rite and the setting can no longer be viewed as originally installed. The two leg drops were erroneously placed on neighboring lines.
Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net…/travels-of-a-scenic-artist-and…/
Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/
For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite” at www.drypigment.net.
Copyright © 2021 by Wendy Waszut-Barrett
In 1923, Thomas G. Moses wrote, “I put in fully a week in Binghamton at the Arlington Hotel on designs for Masonic work and I believe we will get the contract.”
Sosman & Landis didn’t get the contract but Moses still painted the scenery. Somehow, David Hunt of New York Studios landed the profitable contract. Keep in mind that New York Studios was the eastern affiliate of Sosman & Landis, and Sosman & Landis was preparing to close.
By summer, Moses wrote, “I have arranged to go to Binghamton, N.Y. for Hunt, $2,500.00 for the job. Sent Loitz on ahead, September 5th.”
Moses was referring to Ed Loitz. Loitz, who had worked with Moses since the 1883. He was a loyal painting assistant and friend who had followed Moses across the country, working alongside him wherever he went. Whether Moses had established a partnership, or was working at Sosman & Landis, Loitz was there. Loitz traveled one step ahead, preparing the next jobsite for Moses’ arrival and then workied on site. Loitz was almost a decade younger than Moses, being born in 1865. In 1923, they had been working together for forty years together. At the time, Moses was sixty-seven years old and Loitz was fifty-eight years old. Loitz was both a scenic artist and carpenter, taking care of everything needed before Moses arrived on site to paint.
Moses was still splitting his time between painting for Hunt (New York Studios) and Sosman & Landis. Sosman & Landis were in the process of liquidating all assets and closing their doors. Moses and Fred Megan were waiting to purchase the name.
The New York Studios project was the stock scenery collection for the Scottish Rite Theatre in Binghamton, New York. This project was completed was just before Moses realized that Chicago Studios was sending out letters to Sosman & Landis clients, explaining that they were the successor to Sosman & Landis, already having secured the same address. David S. Hunt was behind the establishment of Chicago Studios, as well as running both New York Studios and Sosman & Landis. Even though he knew Moses was going to purchase the Sosman & Landis name after the company liquidated their assets, Hunt was using his position at Sosman & Landis to his advantage to discredit any new iteration of Sosman & Landis. This would all happen in November 1923 while he was on site in Binghamton.
On October 17, 1923, Binghamton’s “Press and Sun-Bulletin” featured Moses and his work. The article was entitled “Vies with Nature in Realms of Beauty,” and stated, “Thomas G. Moses Wields a Well-nigh Magic Brush in Painting Scenery, Curtains and Drops for New Masonic Temple.” Here is the article in its entirety:
“Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets, need no assistance of Brownies or other mystical helpers in making things beautiful in the opinion of those who have seen examples of his work.
Fairyland in all its mystical wonderfulness could not surpass the beauty that is represented on the canvas with the paint from the brushes carefully wielded by Moses. Mechanical curtains on which a moon may be seen rising, Persian temple interiors and water, wooded and open scenes are all in the new temple to bring admiration from all the Masons who are privileged to see them all.
Forty drops are being painted by Mr. Moses.”
[Moses was being paid $2,500 dollars for the project, so we can estimate that his average painting fee per drop was no more than $62.50/each, assuming he wasn’t paying for travel, lodging or meals out of that amount. The money equivalent of $62.50 in 1923 is $952.02 in 2021.The contract was for $12,000]
“Each set is used for some one of the 32 degrees prescribed in the ranks of the fraternity. Each degree is exemplified in a different setting. Some are on the plains, others in a temple painted from Biblical descriptions of King Solomon’s temple, extensive Egyptian quarries and water scenes.
The full equipment will be used for the first time on Nov. 18, 19 and 20, when the annual reunion of Otseningo Consistory, Ancient Accepted Scottish Rite, will be held. Exemplification of degree work at that time will be the first that it has been done in full form in four years. Equipment of the Masonic body was destroyed four years ago in a fire in the temple on Chenango street.
All paintings of the scenery are done by Mr. Moses from scale drawings which he completed several months ago. The small scale drawings were drawn from outlines by officers of lodges here. Mr. Moses on a platform suspended from the top of the loft sketches in charcoal on the canvass the scene which he wishes to paint.
Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts. Installation of the drops is supervised by H. E. Naile. The three men have worked together in many cities, their last contract being in Little Rock, Ark.
The stage in the temple here and the scenery and drops being painted are the largest ever handled in a Masonic Temple by Mr. Moses. He says he is well satisfied with the progress of his work and in a short time it will be finished. He expects to remain here to paint some work for another temple.
Products of the brush of Mr. Moses and his assistant, Mr. Loitz, are not entirely new to Binghamton. Mr. Moses painted the landscapes and architectural exteriors for the State hospital theater and Mr. Loitz did the interiors. Mr. Moses painted the original scenery for the Stone Opera House and upon visiting that place a few days ago he found some of the equipment still in use.
Tom Moses, as he is nationally known, was found today busily engaged in painting a drop 21 feet by 40 feet representing an interior of an old German chapel. The picture is complete with stained glass windows and the chapel is profusely decorated with flags, shields and bits of armor.
Tom Moses’ father was a captain of a sailing vessel and when he left the bounding main he started a leather business. He intended his son should follow his footsteps. The world might have been richer with a reliable captain or an expert on leather, but Tom had ideas for a different vocation, and thus the world has not been deprived of a master painter who transfers the sometimes unreal to the real with an intricate movement of his paint brush.
All this was 45 years ago. During the 45 years he has been painting scenery, Mr. Moses has gained much praise throughout the land. His friends are legion. He is short and stocky and has a radiating personality that brings a friendly reception wherever he goes and he has no enemies.
Born in Liverpool, England, in 1856, more than 67 years ago, of English parentage, Mr. Moses came to America with his father and mother but when a little child and settled in Sterling, Ill. His father was a sea captain and later a tanner. Tom’s mother, who died when he was but a youngster, possessed an exceedingly artistic nature and did much to install into her son the love of artistic.
Tom’s father was strict and was certain that the boy would be “better off” as a tanner with his brawny arms wrestling with a piece of hairy hide and covered with tannin. Use of a hickory switch proved to Tom that this would probably be much after his father declared only starvation faced the starving artists.
One try at the tanning game convinced Tom that he would rather be an artist. At the age of 17 he left home “with a forwarding address.” He hired out as a paint boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work.
Robert Hopkin, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist. At the age of 20 he returned to his home and married Miss Ella Robbin. The couple lived there until 1880 when they went to Chicago where Mr. Moses started working for the Sosman & Landis Co. He painted the first work of this concern.
In his long and varied career, Mr. Moses has done work for many famous artists and for many famous productions. It was he who designed and executed the original “Floradora” sets for John C. Fisher. He did them, not only once, but four times. The work of Tom Keene, John McCullough, Booth and Barrett, Col. Cody (Buffalo Bill), Julia Marlowe, Robert Lober, Joseph Murphy, Conried and Herman, Emma Abbott, Emma Juch, Sarah Bernhardt, Mme. Modjeska, and score of other greater and lesser figures of the American stage was enhanced by scenery executed by Thomas G. Moses.
Some of the famous productions, in addition to “Floradora,” which Mr. Moses has made are “Shenandoah,” and “Old Kentucky,” famous melodramas; “Marie Antoinette,” “Mary Stuart” and “Macbeth” for Mme. Modjeska; “Judas” for Mme. Bernhardt. Joseph Jefferson’s last “Rip Van Winkle”; “The Holy City,” “By Right Sword,” “Lost in the Desert,” “Quo Vadis,” “The Witch,” “Robinson Crusoe,” “Ben Hur” and scores of other big productions.
He has also produced some of those famous Luna Park spectacles at Coney Island, such as “Fire and Flames,” “The War of the Worlds,” “Trip to the Moon,” “20,000 Leagues Under the Sea,” “The Streets of Delhi” and others. “The Streets of Delhi” was produced at a cost of $100,000.
In the art world outside of scene painting he has received much recognition. He has the distinction of being a member of the world-famous Salmagundi club, that noted organization of artists in New York. Mr. Moses is also a member of the Chicago Society of Arts, the famous Palette and Chisel Club, the California Art Club of Los Angeles and the Laguna Art association of Laguna Beach, Cal.
Rapid advance of motion pictures has crimped the scenic painting industry, Mr. Moses says. “Because of the fewer number of dramatic shows now there is a less demand for drops. Movies take the place of the dramatic productions that one time held sway.”
To be continued…
.Copyright © 2021 by Wendy Rae Waszut-BarrettThis is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona in January 2021. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.
The cut drop was part of a palatial scene for King Darius (16th degree), but was also used to supplement stage settings for King Cyrus (15th degree) – despite the different time periods.Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020
https://drypigment.net…/travels-of-a-scenic-artist-and…/Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite” at www.drypigment.net.
Copyright © 2021 by Wendy Waszut-Barrett
We all struggle on a daily basis, and yet overcome many obstacles that seem insurmountable at the time. However, there are also those moments when we don’t persevere, the ones that mark our soul. For me, writing this blog provides daily solace during challenging times. I am able to escape into the past and share challenges faced by others. Somehow, telling their stories brings peace to my own.
It is especially comforting for me when voices from the past share fears of the present. Ninety-nine years ago, scenic artist Thomas G. Moses (1856-1934) wrote a passage that is applicable for many today.
In 1923 he wrote, “While I realize what one short year will do for one’s business, I cannot help having a chill from what has happened to us all during that time. When I look forward and wonder what is apt to happen, I try to be optimistic and see nothing but silver lining and feel that the turning point has been passed and the road is cleared, and the travel will be comparatively easy.”
To be continued…
Copyright © 2021 by Wendy Rae Waszut-Barrett
This is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona this month. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.
Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net…/travels-of-a-scenic-artist-and…/
Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/
For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite.”