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Tales from a Scenic Artist and Scholar. Part 822 – Empress Theatre, Fort Wayne, 1912

In 1912, Thomas mentioned three projects at Sosman & Landis, writing, “A nice little order from Charlotte, N. Car., Minnie Palmer, two shows, full stock for the Empress Theatre, Fort Wayne.”

Postcard with bird’s eye view of Fort Wayne, ca. 1912.

The Empress Theatre was located at the intersection of Wayne and Clinton streets in Fort Wayne. In addition to an auditorium and stage, the building included gentlemen smoking rooms, ladies rest rooms, and a nursery. Of the Sosman & Landis installation, local newspapers described fire prevention measures.

Postcard depicting Fort Wayne, Indiana, ca. 1912.

On March 8, 1913, the “Fort Wayne Journal-Gazette” reported, “The stage is fitted with the finest scenery that has ever been brought to Fort Wayne. The curtain arrangement is also something new to Fort Wayne. Two asbestos curtains will be used with a water curtain in the center, which makes the matter of a fire upon the stage the next thing to an impossibility. The curtain will be raised and lowered automatically, sliding through a metal groove which also makes it an impossibility for fire, if there should be one to get through the curtain and out into the auditorium.” (page 7).

Previously, “Fort Wayne Journal-Gazette” reported, “In matter of exits, the Empress will boast pf being one of the safest theaters in the middle west. Constructed almost entirely of concrete and steel, it is practically fireproof and being equipped with sixteen exits, open on all four sides, the place can be emptied in less than three minutes” (February 23, 1913page 15). The industry was still reeling from the Iroquois Theatre fire, with new theaters now citing how quickly an auditorium could be evacuated. Fort Wayne residents had also witnessed the Aveline Hotel Fire of 1908, a devastating tragedy for the town. The Empress Theater’s opening drew many men prominent in vaudeville to be in attendance.

Although Sosman & Landis completed the scenery in 1912, the official opening of the Empress Theatre was on March 9, 1913. With a seating capacity of almost 1300, advertisements promised, “every modern convenience known to theatre building.” The theater’s policy was three performances every day, with five hundred “choice seats” being available for ten cents. Matinees started at 2:30 and were followed by two evening shows at 7:30 and 9:00 P.M. Girls were used as ushers for the evening performances and on Sunday. For matinees, patrons were expected to seat themselves.

The opening billing included Lew Field’s “Fun in a Boarding House” as the headliner. The stage setting for the show included the section of a house, six rooms in all. Fields, of the firm Weber & Fields, was engaged to produce “fun” acts exclusively for the Sullivan & Considine theaters nationwide.

Scene from “Fun in a Boarding House,” from the “Fort Wayne Journal Gazette,” 2 March, page 25

In addition to the headliner, there were four other acts and two reels of famous “Kinemacolor pictures” as part of the new vaudeville theater’s program. The Kinemacolor pictures were changed twice weekly – on Sunday when the entire bill was changed – and on Thursday (Fort Wayne Daily News, 10 March 1913, page 8).The May 8, 1913, “Fort Wayne Journal-Gazette” article reported, “Kinemacolor pictures will also be shown, which is something new in the motion picture art in Fort Wayne. The Empress controls the sole right to these pictures in the city, therefore they will be shown at no other place in Fort Wayne. The pictures are educational in a way and also amusing.”

An advertisement in the “Fort-Wayne Journal-Gazette” stated, “The Empress theatre has instituted the new and marvelous Kinemacolor moving picture machine, which reproduces on the screen the same colors and shades that are present when the picture is taken. The colors are true to nature in every respect, and, although the system of mechanism is carried out in a very complicated manner, yet the color scheme is most simple, entirely like the doctored and painted films of the black and white machines. A filter wheel, divided in four parts, two of which are filled with a red filter and the other two parts with green filter, forms the foundation and basis of the new system, The great, yet simple, law of nature , that all colors of the rainbow can be made from three colors – red, yellow, and blue- is taken advantage of, and two colors, yellow and blue are so blended in the filter as to produce the shade of green desired. The film is sensitized so that the darker colors are shows through the green filter and then lighter shades are projected through the red filter, thus making a segregation of colors that are true to nature. The method of producing such a high degree sensitiveness on the film is the same as the other methods of film making ways, only a picture for the Kinemacolor machine must be taken out in pure sunlight, whose rays alone are strong enough to produce the desired sensitiveness on the negative. The red and green filter wheel is placed in front of the negative when the picture is taken and the rays passing through the filter form a color value on the film. Then when the film is put into the machine, a high-powered Arclight throws its strong rays through the filter onto the film and out through the lens, forming a segregation of colors that exactly reproduce the picture. The machine utilizes three times as much candle power as the black and white machines, and, being run by a one-horsepower electric motor shows forty pictures in a second, while the other machines, most of which are run by hand, project and average of sixteen pictures per second. The inventor of the machine is an American, Charles Urban who has resided in England for the past fifteen years. The machine has been in England for the last six years, but only in America for three years. It has been largely accepted by all the large theatres of the east, and its success is due to its value. The machine is merely leased to the companies, and the Empress is the only one in the city at present that will use it “(8 March 1913, page 7).

Tales from a Scenic Artist and Scholar. Part 821 – The Majestic Theatre, Milwaukee, 1912

The Majestic Theatre Building in Milwaukee, Wisconsin.

The Interior of the Majestic Theatre in Milwaukee, Wisconsin.

In 1912, Thomas G. Moses, wrote, “A good contract for Milwaukee Majestic.”

Milwaukee’s Majestic Theatre was located at 219 W. Wisconsin Ave, in Milwaukee, Wisconsin; the Majestic Theatre was dedicated on April 22, 1908. The theater was housed in a fourteen-story building, managed by theater lessees Hermann Fehr of Milwaukee and C. E. Kohl of Chicago.

In 1908, the Majestic Theatre was one of eight theaters in Milwaukee listed in Julius Cahn’s Official Theatrical Guide. Milwaukee’s population at the time numbered 325,000. The other venues included the Davidson Theatre, the Bijou Opera House, the Alhambra, the Pabst Theatre, the Schubert Theatre, the Star Theatre and the Gayety Theatre.

On March 1, 2002, Jim Rankin provided insightful information regarding Milwaukee’s Majestic Theatre at cinematreasures.org. I am passing this along so the information will not get lost. Rankin wrote,

“The MAJESTIC Theater was a 1908 vaudeville house with its auditorium at right angle behind its 14-story MAJESTIC office building. The box office and lobby occupied the center bay of the office building and one proceeded through it to the white marble foyer of the auditorium behind, unless one went to the gallery in which case he had to use the déclassé [?] gallery box office and staircase off the alley. The center of the gallery rail was occupied by a half circle projection on which was placed the incandescent follow spotlight with its six-color revolving light filters. In the auditorium one found 1900 some seats in a wide house with six boxes on each side of the stage with curving fronts enriched with gilded fruit festoon moldings. Bentwood chairs with padded seats filled each box, each of which was draped in a simple rectangle of a fringed lambrequin. Three levels of leather seats faced a spacious stage the arch of which was adorned with molded festoons and Greek key designs. The switchboard backstage was the old marble-faced type, but the double row of footlights and other abundant lighting was adequately served, and the fully rigged wood-covered concrete stage saw use for much Vaudeville until 1930.The 20 dressing rooms served by a back stage elevator were complemented by the cellar under the alley for keeping the animal acts.

Orpheum vaudeville made frequent use of this theatre until they commissioned the architects who designed it, Kirchoff & Rose of Milwaukee, to create a much larger and fancier venue just a block eastward in 1928: the RIVERSIDE theatre. The MAJESTIC may have been glamorous 20 years earlier, but the movie palaces coming upon the scene with their elaborate decors and stages suitable also for vaudeville, made the MAJESTIC look like an unadorned old dowager. It struggled with hastily installed movies for two more years before it was demolished to become a parking lot for the very office building in front of it! That office building still stands as part of the Grand Avenue mall, but the theatre is long forgotten but for an old timer I met on the street one day who had a tear in his eye as he recalled the many years of his youth when he had enjoyed shows in the once MAJESTIC.”

The Milwaukee Majestic Theatre was listed as part of the Orpheum circuit.

The Majestic Theatre in Milwaukee used a steel-faced fire curtain manufactured by the S. H. Harris Co. of Chicago, Illinois.

The construction of the fire curtain at the Majestic Theatre in Milwaukee was credited to the S. H. Harris Co of Chicago and listed in and advertisement for the “Manual of Inspections: A Reference Book for the Use of Fire Underwriters in General (William Dennis Matthews, Jan. 1, 1908, Insurance Field Co.). In light of yesterday’s post about fires, S. H. Harris Co. manufactured steel faced fireproof curtains that complied with the Fire Insurance Underwriter’s requirement. Moses frequently mentioned the difficulty of painting on these steel curtains at various theaters. Other theaters that used S. H. Harris curtains in 1908 included the Academy of Music (Brooklyn, NY), Lyric Theatre (Philadelphia), Majestic Theatre (Chicago), Star & Garter Theatre (Chicago), Star Theatre (Chicago), American Theatre (St. Louis), Day’s Theatre (New York City), Forest Theatre (Philadelphia), College Theatre (Chicago), Empire Theatre (Chicago), and the Majestic Theatre (Des Moines). Many if these venues used stock scenery manufactured by Sosman & Landis.

To be continued…

Tales from a Scenic Artist and Scholar. Part 820 – Fire, 1912

From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for the Ringling Bros. grand circus spectacles. In 1912, Thomas G. Moses wrote, “Went to Sterling to catch Ringling to collect $1,200.00. As I went to the tent to find Al Ringling, I discovered everyone watching a fire – a stable at least four blocks away. A spark was blown towards the tent, the top of which is prepared with paraffin to make it waterproof. It soon ignited from the sparks and in less than thirty minutes the big tent was destroyed. The rest of the tents were saved. It was mighty fortunate there were no people in the tent. Some of the animals in another tent started some noise when the smelled the smoke, but they were soon quieted. I sneaked away without making myself known. There was no money for me, that I guessed.” This would not be the first or last fire for the Ringling Bros. On July 6, 1944, a huge fire engulfed the Ringling Bros. Circus tent in Hartford, Connecticut. The tragedy killed 167 people and injured hundreds more.

Ringling Bros. Tent fire on July 6, 1944.

Fire was a constant threat for not only circuses but also theaters. Theatre practitioners still site the horror of Chicago’s Iroquois Theatre tragedy as an impetus for many of today’s fire codes. It is not that we were unaware of how to prevent theatre fires. As an industry, there were fire curtains and other preventative measures in place at many nineteenth and twentieth century theaters. The architectural firm of McElfatrick & Sons placed most of their theaters on the ground floor and increased fire exits. By 1876, Dion Boucicault was testing various methods to fireproof scenery.

The problem was a lack of regulation and safety enforcement. I always think back to the Triangle Shirt Factory and all of the women leaping to their deaths to escape the flames; profits remained a priority over people for many companies, even after court-appointed safety measures were demanded of business owners. This is when the reinforcement of state and government regulations to ensure public safety is a necessity, as some companies refuse to spend money on safety. For the theatre industry, it took the seeing piles of dead women and children on the streets of Chicago after fire broke out during a matinee performance.

I have several books about the Iroquois Theatre Fire, one being “The Great Chicago Theatre Disaster” by Marshall Everette published in 1904. The publication included “the complete story told by the survivors” and was “profusely illustrated with views of the scene of death before, during and after the fire.” The Publisher’s Preface noted, “While the embers are still all but glowing of one of the most heartrending fires of modern times, its history has been caught from the lips of the survivors and embalmed in book form. The deep and far-reaching effects of the Iroquois casualty will not be eradicated, if much softened, for another generation. That this is true must be realized, when it is remembered how large a majority of the victims were in the early dawn or flush of life, and their friends and closer kindred can the less readily be reconciled to the sad reality than the loss had fallen among the mature, whose end, in order of nature, would not be far away.” Everett added, “While this book is intended to be a fitting memorial in commemoration of that tragic and historic event, I am in firm in the conviction that its wide circulation will be instrumental in accomplishing much good. It calls special attention to the defective and dangerous construction of theaters, public halls, opera houses and other public buildings all over the land; bold evasions and reckless disregard of life-saving ordinances by managers and owners whereby thousands of precious lives are constantly in imperiled. It will thus arouse public sentiment and emphasize the supreme importance of safeguarding people who congregate in such buildings and prevent the possible loss of thousands of lives in the future. What has happened in Chicago is liable to occur in other cities and towns unless precautionary measures are adopted.”

Image from the “The Great Chicago Theatre Disaster,” 1904.

Mrs. Emma Schweitzler described the first appearance of the fire, stating, “As soon as the drop curtain came down it caught fire. A hole appeared at the left-hand side. Then the blaze spread rapidly, and instantly a great blast of hot air came from the stage through the hole of the curtain and into the audience. Big pieces of the curtain were loosened by the terrific rush of air and were blown into people’s faces. Scores of women and children must have been burned to death by these fragments of burning grease and paint. I was in the theater until the curtain entirely burned. It went up in the flames as if it had been paper and did more damage than good.”

When Moses visited Ringling in 1912, he had already witnessed his share of burned stages. Sosman & Landis frequently provided replacement scenery for venues that replaced previously burned theaters. It was not until I began researching the life and times of Moses that I began to understand how frequently fires cured in the United States. We all know of their existence, yet many of us cannot comprehend the frequency of the events. And yet, people kept walking through the doors of early twentieth century theaters, hoping that all precautions to prevent fire had been implemented for their safety.

By 1908, the “Manual of Inspections, A Reference Book for the Use of Fire Underwriters” by William Dennis Matthews included a section on theaters:

“THEATERS. Heating? Footlights, border-lights and overhead stage lights – open? How guarded? Scenery – painted with watercolors or oils? Arrangement of switchboard, dimmers, etc.? Spot Lights? Sciopticons? Stereopticons? Smoking on stage? Dressing rooms – candles? Swinging gas jets? Heaters? (Fires are caused frequently by electrical apparatus carried by traveling companies, which is generally poorly constructed and installed). Carpenter and paint shops – care of oils, paints, refuse, etc.? Space under auditorium used as a catch-all of old papers, etc.? Posters- where stored (subject to spontaneous combustion when stored in piles, owing to the oxidation of printer’s ink)? General care and cleanliness?

Note: The spread of fires in theatres is usually very rapid, owing to the height of ceilings and the arrangement and nature of scenery and flies in stage end. Fires occurring during performances nearly always cause panics in which more or less people are injured or killed. It should, therefore, be plain to all concerned that devices which might cause fires should be eliminated as far as possible and that those which are necessary should be safeguarded in every practical way. The question of protection is a most important one – some cities require the stage end to be of fireproof construction, all scenery to be fire-proofed, the opening in proscenium wall to have a fireproof curtain, and the dressing rooms, property rooms and paint and carpenter shops equipped with automatic sprinklers. There should be a good supply of chemical extinguishers on the stage and working galleries, in dressing rooms, paint and carpenter shops and property rooms, and throughout the basement; large stationary chemicals with piping to these various rooms and hose attached would, of course, be preferable.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 819 – Scenic Art Sundries, 1912 to Now

Scenic art case with brushes. From the Waszut-Barrett Theatre Collection.

In 1912, Thomas G. Moses wrote, “June 1^st, Sosman agreed to pay me what I wanted, $5,200.00 per year besides my dividends, which will make my income not less than $6,500.00 – not quite as good as the New York venture, but I will be satisfied.” $6500 in 1912 is equivalent in purchasing power to about $171,920.31 in 2019. Of that number, $137,526.25 was Moses’ salary without his dividends.

Now, consider his statement. “not quite as good as the New York Venture.” Moses was referring to his four-year partnership with Will F. Hamilton in New York City – Moses & Hamilton Studio. He left a successful business venture to return to Chicago in 1904. When Moses returned to Sosman & Landis he assumed the role of vice-president, shareholder, and controlled all design, construction, painting and installation. In a sense, Joseph S. Sosman handed all artistic control of the firm over to Moses. In 1904, Moses had been working as a scenic artist for three decades and was not only well-known, but also in high demand across the country. He brought credibility, as well as past clients, when he returned to Chicago.

By 1912, Moses was responsible for the successful delivery of at least two dozen Masonic scenery installations, hundreds of stock settings, all of Ringling Bros. grand circus spectacles, Frederick C. Thompson’s most successful amusement park attractions, and scenery for many premiere productions by Joe Jefferson, Edwin Booth, Helena Modjeska, Sarah Bernhardt, John McCoullough, Julia Marlowe, Katherine Clemmons, Buffalo Bill, and many others. He had closely worked with dozens of theatrical producers, such as Wm. A. Brady. John J. Murdock, Joseph Litt, Gus Hill, Kohl & Castle, H. H. Frazee, Thos. W. Prior, and the list goes on. Moses was a very valuable asset to Sosman & Landis, but his primary obstacle would remain Sosman & Landis stockholders. While Sosman was alive, he acted as a buffer for Moses, being one of the company’s founders. After Sosman’s passing in 1915, Moses faced continued challenges presented by not only stockholders, but also one-time company treasurer and secretary, David H. Hunt. Hunt ran the eastern affiliate of Sosman & Landis – New York Studios,

There are a few factors to consider about Moses’ salary in 1912. First of all, the theatre industry was booming and Sosman & Landis Studio was at the top of their game. They really reigned supreme in regard to painted settings for theatre, opera, music academies, social halls, fraternal stages, public pageants, grand circus spectacles, amusement park attractions, and more. Everywhere you turned, it seemed as if there was a need for scenic art, whether on the stage or at a world’s fair. My exploration of the period from 1890 to 1920 suggests that there was a greater demand than supply. Competition between scenic studios was almost jovial, as there was always another job just around the corner. This dynamic seems to shift during the 1920s when the number of suppliers dramatically increases and the demand for painted scenes begins to wane.

There are many factors that contribute to this decrease, too many to mention in one post. However, it is important to note that there is an increased demand for fabric curtains in lieu of painted stage settings. There is also the emergence of the lighting designer; atmospheric effects once created by paint are now created with light on three-dimensional objects. Whether you want to site realism and naturalism on stage or the Bauhaus movement in theater, the demand for painted illusion diminishes. Scenic art remains, but there is a shift from art to craft in many cases, There is also the increased popularity of film, transitioning the artistic medium as a snippet for vaudeville to a full-length silent film at a movie house. The rise of film shifts many live performance theaters to cinemas, also decreasing the need of stock scenery in some venues. In short, there are too many factors to identify any one thing that directly decreased the demand for scenic art, yet it starts.

Just as two schools of scenic art developed in American during the nineteenth century (English and European traditions), two new schools become associated with live theatre and film during the twentieth century. This is similar to the 19^th century shift when scenic art for the stage was painted in either the English tradition of glazing or the European tradition of opaque washes. By the 1920s, scenic art on stage adopts a much more colorful palette, although the two schools of scenic art continue. Shadows are saturated with ultramarine blue and spatter covers painted compositions for the stage, all to interact with light. At this same time, scenic artists who paint for film develop a tighter style as movie cameras improve, branching off in a very different direction of increased realism that transitions into the dimensional. Scenic art for Hollywood and scenic art for grand opera are two completely separate schools, necessitating different techniques.

There is also a shift in the perception of scenic art labor and subsequent wages, more specifically how scenic art is regarded by the various industries. For historical context, many 19^th century scenic artists did more than simply paint. They controlled scenic illusion on stage; designing both stage machinery and painted elements, also lighting their creations. Many scenic artists also belonged to the Theatrical Mechanics Association (est. 1866). Similarly, stage carpenters and stage mechanics were also accomplished scenic artists; the titles were not solely based on skill or any one trade. Even in a 1910 interview, Broadway scenic artist and designer John H. Young explained that he always needed to set the lights, being the sole individual who truly understood how his set should be lit, explaining that light can destroy a painted composition in an instant.

There is also the rise of both the modern scenic designer, reducing the role of many mid-twentieth century scenic artists to painters. This trend continues throughout the twentieth century, with more obstacles for scenic artists including the rise of digital technology. This is not meant to say that scenic art declined, the skills evaporated, or the trade died. The perception of scenic art simply began to change. If an industry’s perception of a trade shifts, so will the wages. What the United States experienced by the late twentieth century was a dip in scenic art wages, especially in non-union towns. This has trend has continued into the twenty-first century.

There is one other factor that must be included, and that is the shift of gender within the scenic art industry going from predominantly men to predominantly women. The rise of women in the field of scenic art parallels the decline of salaries in the field of scenic art. There is no disputing that many women, whether they are teaching at a university or in a professional industry, still make less than their male counterparts. The Equal Rights Amendment did not pass in the United States, therefore women are not legally entitled to equal pay; and, yes, this does matter in a lawsuit.

To be continued…

Tales from a Scenic Artist and Scholar. Part 818: Kilroy and Britton, 1912

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

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

Advertisement from the “Marion Headlight” (Marion, Kansas), 1 Nov 1906, page 5

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

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

Advertisement for “The Aristocratic Tramp” at Crump’s Theatre in Columbus, Indiana, from “The Republic,” 23 Nov. 1903, page 5

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

Article published in “The Republic,” (Columbus, Indiana) 23 Nov. 1903, page 5

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

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

Advertisement in “The Times,” (Munster, Indiana) 27 Sept, 1912, page 2

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

Advertisement in the “Fort Wayne Daily,” 18 May 1912, page 4

To be continued…

Tales from a Scenic Artist and Scholar. Part 817 – Portland’s Scottish Rite Murals

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 816 – The Scottish Rite in Portland, Maine, 1912

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

The Scottish Rite Theatre in Portland, Maine.

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

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

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

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

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

Here is one paragraph from Portlandmasonic.com:

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 815 – John C. Becker (1881-1963) and Raymond H. Becker (1892-1976) of John C. Becker & Bro.

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

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

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

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

John C. Becker & Bro. letterhead, ca. 1930.

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

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

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

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

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

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

Raymond H. Becker (pictured right) in the “Chicago Tribune,” 13 Dec. 1934, page 36.

Becker Bros. Studio in Chicago. Illinois.

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

J. C. Becker & Bro. studio stencil on the Moline Scottish Rite scenery.

Becker Bros. studio stencil on the Scottish Rite scenery in Madison, Wisconsin.

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 814 – The Second Scottish Rite Stage in Bloomington, Illinois.

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

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

The stage of the Bloomington Scottish Rite.

Auditorium of the Bloomington Scottish Rite.

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

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

Some of the scenery by J. C. Becker & Bro,. for the Passion Play.

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

(left to right) Delmar D. Darrah of Bloomington, C. R. Spillman of Chicago, Leon M. Abbott of Boston, S. O. Spring of Chicago, and Leroy Goddard of Chicago.

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

Why Becker and not Sosman & Landis?

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

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

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

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

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

Stage where the Bloomington Scottish Rite now meets.

To be continued…

Tales from a Scenic Artist and Scholar. Part 813 – The Bloomington Scottish Rite and Delmar D. Darrah, 1912

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

Letterhead for Delmar D. Darrah of the Bloomington Scottish Rite.

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

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

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

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

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

To be continued…