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Tales from a Scenic Artist and Scholar: Part 775 – Thomas G. Moses and the Cheyenne Scottish Rite, 1911

I return to the life and times of Thomas G. Moses. In 1911, Moses recorded that Sosman & Landis received “a small contract at Cheyenne of Masonic work.”

Sosman & Landis were well known in Cheyenne, having delivered stock scenery to the Grand Opera House in 1882. Sosman & Landis artists paired up to complete many projects on site, traveling from one theater to another and crisscrossing the country. From 1881-1882, Moses and studio founder, Joseph S. Sosman were a team, completing one project after another as salesman Abraham “Perry” Landis secured each contract.

The Scottish Rite Theatre is located in the Masonic Temple, home to multiple Masonic orders. Located at 1820 Capitol Avenue in Cheyenne, construction commenced on a three-story structure in 1901, costing local Masons $45,000. Unfortunately, in 1903 the building was gutted by fire. The “Natrona County Tribune” reported, “The fire originated by defective electric light wiring over the stage at the south end of the building. The loss was estimated at $50,000; insurance $33,500, $30,00 of which was on the building and $3,500 on paraphernalia. The elegant paraphernalia of the Scottish Rite Masons, costing at least $6,000 was entirely destroyed, and besides this many suits belonging to the members of the order were lost. Only a few rugs and several pieces of furniture were saved. The structure will be rebuilt at once. The structure will be rebuilt at once. The Scottish Rite Masons had just finished holding a reunion in the building, at which forty-one new members were admitted on the night before the building was destroyed, this being the first reunion held in the building since its completion” (5 March 1903, page 8). After receiving their insurance settlement, the Cheyenne Scottish Rite Bodies reconstructed the damaged stage and interior.

Sosman & Landis delivered an initial collection of scenery to this Masonic Hall in 1911, and membership numbers began to skyrocket.

On January 25, 1911, the “Natrona County Tribune” reported, “Cheyenne. – The semi-annual reunion of Wyoming Consistory No. 1 here met Jan. 4, and is attended by Masons from all sections of the state. A class of twenty-six candidates for the Scottish Rite degree has been selected” (Caspar, Wyoming, page 6). By that fall, there were fifty candidates at the Scottish Rite reunion in Cheyenne (Natrona County Tribune, 20 Dec. 1911, page 6). Over a year later, there were forty-six candidates (Natrona County Tribune, 26 Dec. 1912, page 2).

A new Scottish Rite Cathedral was planned in 1920 as membership rapidly outgrew its current quarters. The “Casper Star-Tribune” reported, “Tentative plans for the cathedral which Wyoming Consistory No. 1, A.A.S.R., is to erect at Capitol Avenue and Twentieth Street, have been approved. They call for a structure of Grecian architecture, with a frontage of 132 feet on Capitol Avenue, which will cost approximately $500,000. Aside from the fact that it will be the largest and finest fraternal society building in Wyoming architecture. Work on the building, it is planned and will begin next fall” (29 May 1920, page 9).

The Scottish Rite stage in Cheyenne, Wyoming.

In 1921, “The Billings Gazette” reported that Wyoming had 1906 thirty-second degree Masons, an increase of 245 members in twelve months. Furthermore, the secretary of Wyoming Consistory No. 1 in Cheyenne reported, “the total resources of all four bodies of the Ancient and Accepted Scottish Rite amount to $189,958.88” (17 Sept 1921, page 8). There were 2,090 members in the Rocky Mountain Lodge of Perfection; 1,961 members in the Albert Pike Chapter of the Knights of Rose Croix; and 1,961 members in the Cheyenne Council of Kadosh No. 1.

I visited the Cheyenne Scottish Rite last year on June 18, 2018. It was father’s day when I documented the Cheyenne Scottish Rite scenery collection, with my husband and son working as stagehands that day. Our guide, Ron, explained that the building was expanded during the 1920s, an addition that included a new theater. Toomey & Volland studio records list a delivery of scenery to the Cheyenne Scottish Rite at that time. I identified three distinct scenery collections when examining the stencil placement. Two are consistent with Sosman & Landis and the third is likely from the studio of Toomey & Volland in St. Louis.

Some of the scenery includes the shipping label “Scottish Rite Bodies. Masonic Hall. Cheyenne, Wyoming.” This information is stenciled on the back and front of some bottom sandwich battens. Additional stenciling on the back of some drops also confirms the destination of Cheyenne, characteristic of standard Sosman & Landis Studio labeling during the first decade of the twentieth century. Keep in mind that it was common for Scottish Rite Valley’s to retain their original scenery when the initially expanded and increased and existing stage. Enlarging the original scenery delivered to the Masonic Hall in 1903 and 1911 for the 1920s stage was not unusual, even if a competing studio painted it.

The three collections at the Cheyenne Scottish Rite are not of any particular, or standard, size. It is obvious that many of the drops were hung at another venue prior to being installed above the current Scottish Rite stage. Charcoal markings denoting previous line sets are just one indicator of a previous life elsewhere.

In regard to painted aesthetics, the design and scenic art for some of the collection is consistent with other Sosman & Landis scenery delivered to Santa Fe (1912), St. Paul (1910), Winona (1909), Tucson (1914), Asheville (1914), and Grand Forks (1914). The painted flats accompanying many of the painted scenes, however, are not identified with stencils, nor characteristic of Sosman & Landis flats manufactured before 1908. The profile pieces in Cheyenne only include a few pencil markings. The design and construction of these pieces are not characteristic with Sosman & Landis set pieces, as they are also much brighter in color than the remainder of the collection, suggesting their delivery by Toomey & Volland aesthetic.

The stage machinery also predates the 1920s. It is an example of Brown’s Special System, also delivered to Santa Fe (1912), St. Paul (1910), Winona (1909), Tucson (1914), Ashville (1914), and Grand Forks (1914).

Counterweight system on the stage right side. The Scottish Rite stage in Cheyenne, Wyoming.

Brown’s Special System installed at the Cheyenne Scottish Rite

The fly rail at the Cheyenne Scottish Rite. This is where Masonic stage hands stood when they raised and lowered backdrops.

Counterweights in a wooden arbor cage were part of Brown’s Special System. The Scottish Rite stage in Cheyenne, Wyoming.

Finally, our host explained that additional drops that went unused for decades. They were rolled up and placed in an offstage area. Sadly, they were disposed of a few years ago without anyone documenting was thrown away, so we have no idea if this were an earlier collection, and adopted collection, or simply unused scenes. There is one dead hung drop curtain against the upstage wall. It appears to be a drop curtain, as I was able to see some painted fringe and draperies, suggesting that this piece may have been the drop curtain from the previous stage at the Masonic Hall; the front curtain would have been not wide enough for the current proscenium opening. I would love to see what the composition is, as I was unable to see more than the bottom two feet of the drop.

To be continued…

Travels of a Scenic Artist and Scholar. Ascher’s Capitol Theatre in Manitowoc, Wisconsin

After returning from the League of Historic Theatres’ national conference, I immediately was on the road again. I ventured east to Manitowoc, Wisconsin, where I had the opportunity to visit a lovely theater in the midst of another renovation. Manitowoc has a population of 33,000 people and is located just south of Green Bay, Wisconsin on the shores of lake Michigan.

Originally constructed as Ascher’s Capitol Theatre, the venue opened on June 16, 1921. It was a combination house, featuring both vaudeville and film. Brothers Arthur and John George were responsible for the endeavor, the two well known as owners of a local wholesale grocery store.

On July 17, 1921, the “Herald News” reported, “You will gasp with astonishment at what has been erected for your entertainment.” The article continued, “You will hardly recognize that you are in Manitowoc. It will remind you of big-city stuff. The lighting the effects, the music, the program, all will combine to force the conviction that George Bros. have spared no expense or effort to give Manitowoc and vicinity the most wonderful amusement palace in the entire northwest.”

The theater is now known as the Capitol Civic Theatre, or Capitol Civic Center. I toured the impressive building on August 2, 2019, with the executive director as my guide.

The auditorium is currently undergoing a 3.5 million dollar restoration that includes the complete replacement of all theater seating, slightly reducing the overall capacity to include larger seats. The space is lovely, has a beautiful flow and ample room for patrons during pre-show and intermission times. Renovation on this historic space began in earnest during 1987 after the Capitol Civic Center, Inc. was established in Manitowoc to focus on the old theater. Ron Kaminski spearheaded the endeavor with support from local individuals and groups, such as of members of the Masquers. The renovated space opened on October 30, 1987, complete with a new Clancy rigging system.

Current Clancy system at the Capitol Theatre

In addition to the original theater, there are many other spaces that take up a substantial footprint on the downtown block. The Capitol Civic Center, Inc. complex currently includes total seven individual buildings. The website reports, “The West Auditorium (renovated in 2013 with campaign support from The Manitowoc Company), is enhanced by the Capitol Grand Lobby (the Mertens Family Lobby/Kadow Movie Museum and the Salutz Family Lobby just off the Box Office). The annex houses the administrative offices, the technical department, the green room, and loading dock facilities. Capitol Studios, expansive storage, and a non-operational historic pub and boarding house complete the properties.

Five full-time and five part-time employees, as well as over 170 volunteers staff Capitol Civic Centre, Inc. Now a successful enterprise, the organization received the Chamber Manitowoc County’s Non-Profit of the Year award in both 2007 and 2014. Now noted as an “anchor for activity in the heart of downtown Manitowoc,” approximately 40,000 individuals attend performances each year.

The renovated auditorium and new gathering areas are lovely, each serving as a tribute to the past. So what about the material cultural and history beyond the architecture and renovated spaces? The history of the stage appears sporadically throughout the complex, such as the historic lighting board, now serving as a decorative element in the new lounge and bar area. There area also a couple of historic scenic pieces tucked away in storage areas.

Once used for stage lighting, it is now a decorative element in a lounge at the Capitol Theatre

Until recently, the original painted fire curtain completed the architectural ornamentation of the auditorium. Citing the expense of encapsulation to preserve this painted piece, the historic artifact was disposed of and replaced with a non-descript and modern fire curtain. This was the last painted element hanging above the stage. The executive director shared images of the painting on his computer. Although it was not the most ornate composition that I have encountered, it unified the auditorium space, completing the fourth wall of the theater. I have encountered many similar designs in the Performing Arts archives at the University of Minnesota libraries and elsewhere over the years. 1920s asbestos curtains often continue the auditorium’s color scheme and painted décor. Once this painted ornament is removed from the auditorium, the entire dynamic of the space shifts.

An example of an Asbestos curtain design in the Performing Arts Archives, University of Minnesota

The executive director could not have been more accommodating during my visit, taking time to share historic images of painted scenes where once a prominent part of the stage house. We wandered into a storage area, so I could examine an extant wing and a tri-fold set piece. The painted wing composition was standard affair for a late 19^th century tormentor, complete with painted drapery, ornate column and pedestal. The other set piece depicted a fancy interior with some lovely gold ornament. I was allowed to to photograph details of the painting techniques. Examples that I will use in the upcoming professional development work shop with Jenny Knott this month. We are again partnering to teach a painting class at CITT/ICTS Rendez-Vous Annual Conference. This is the Canadian Institute of Theatre Technology, similar to USITT. One week from today, I journey to White Horse, a remote town in the Yukon where the conference is being held this year.

Painted detail of an extant set piece stored at the Capitol Theatre

Painted detail from an extant wing at the Capitol Theatre

After looking at the painted flats, I was guided up a long flight of stairs to see a historic drop. In a previous phone conversation, I was told that one rolled-up backdrop had survived and was neatly tucked away in an upper lever. I was not expecting to unroll anything, but wanted to see the wooden battens and quality of fabric, hoping to date the piece. In fact, there were three rolled up scenes, resting on a series of metal bars above a long hallway at the top of the stairs. In many ways, this is an ideal location for access to the drops, even though one would stop traffic if they were removed from the building.

Three drops in storage in a building adjacent to the Capitol Theatre

The wooden battens and fabric of the pieces suggest that all three pre-date the venue and were likely delivered to another theater. It is possible that the scenes were refurbished and sold to the Capitol Theatre in 1921, but more likely the scenes were “adopted” over time, finding their way over from a nearby opera house. Manitowoc was home to several theaters over the years, including the Manitowoc Opera House, located on the 400 block of North Eighth Street.

Unfortunately, I was unable to verify that any of the rolled backdrops were those depicted in the historic photos. It was obvious that one was a foliage composition, either a border or leg drop, as the piece was once netted. In regard to the other two, it is impossible to identify any subject matter.

I would be curious to see the painted compositions and if there are any studio markings to identify origin. However, these historic artifacts remain very low on the theater’s list of priorities and I doubt they will be unrolled anytime soon. At least they are safely tucked away where they may be forgotten, inadvertently preserving this history.

To be continued…

Travels of a Scenic Artist and Scholar. Thomas G. Moses, the National Theatre Supply Co. and William Lemle Inc.

On my return trip home from the League of Historic American Theatres conference in Philadelphia, I stopped by the Egyptian Theatre in DeKalb, Illinois. While examining the old fire curtain, I spotted not only the Union stencil, but also a stencil with “National Theatre Supply Company” above it. Over the years, National Theatre Supply Co. has popped up on my radar, time and time again.

The Egyptian Theatre in DeKalb, Illinois

The fire curtain for the Egyptian Theatre in DeKalb, Illinois, painted by William Lemle Co. and delivered by the national Theatre Supply Co.

As I peered at the faint type above “National Theatre Supply Company” on the asbestos curtain, I first made out the word “Lemle,” and then “Painted by William Lemle Co.” The Egyptian Theatre fire curtain is extremely significant in the course of American Theatre history for this stencil alone, as it links together two significant scenic studios in 1929.

Back of Egyptian Theatre fire curtain noting, “Painted by William Lemle Co. in Chicago for National Theatre Supply Co.”

I immediately thought of another project delivered by the two studios the same year, a second Egyptian-themed theater that was built in McAlester, Oklahoma. National Theatre Supply Co. and Wm. Lemle Co. delivered one of the largest Scottish Rite scenery collections in the United States to the Scottish rite Theater in McAlester, Oklahoma. In a newspaper article from November 1929, Moses was noted as a representative for both the Lemle Co. and the National Theatre Supply Co. in regard to the McAlester Scottish Rite project. Moses designed and painted the entire collection, recording that the stage settings were 40’-0” high by 60’-0” wide and the stage was 140’-0” deep.

While researching these two studios in 1929, I encountered a letter sent to Moses at “Wm. Lemle Co., Chicago, Ill.” Penned by William H. Fuller, Venerable Master of the Albert Pike Lodge of Perfection in McAlester, he mentions that the scenery was damaged en route to the McAlester Scottish Rite theater, and specifically requests for either the Lemle Co. or the National Theatre Supply Co. to write a letter recording their grievance.

So what do we know about the National theatre Supply Co. and Moses’ involvement with the firm? Let’s start with the end of Sosman & Landis in 1923. That year the studio is liquidated, their space rented to another firm and the name sold. Moses partners with Fred Megan of the Kansas City Scenic Co. and they attempt to purchase the name of the company. Before they are able to legally use the name “Sosman & Landis,” they work under the studio name Moses & Megan. Hoyland and Lemle purchased the Sosman & Landis studio contents at that same time. Later William Lemle Inc. would use the old Sosman & Landis studio space.

Moses & Megan lease the Fabric Studio in Chicago, the same company that delivers the Joplin Scottish Rite scenery. Moses & Megan produce the 1926 Salt Lake Consistory scenery, as well as the 1927 Oakland Scottish Rite scenery. Moses and Megan would continue working together until 1931, but Moses would also begin representing both the William Lemle Co. and the National Theatre Supply Co.

Why is Moses so adamant to retain the studio name? Because Moses has been a major player in Sosman & Landis scenery production since the very beginning. The studio name is synonymous with quality and Moses is integrally linked to the company. One could even surmise that Moses was the face of the company, as his reputation was intertwined with their work since 1880. In 1904 after Moses returned to Chicago after a successful career in New York City (Moses & Hamilton), he assumed all control over all Sosman & Landis design, painting, construction and installation. He becomes the vice-president and was even rewarded $5,000 in stocks in addition to control over production. He later becomes company president after the death of studio founder Joseph S. Sosman. Moses had an incentive to remain connected with the studio name until quite late in his career. In later years, he is listed as the artistic director of Sosman & Landis.

However, there are a few things to keep in mind as National Theatrical Supply is established in the shadows of Sosman & Landis’s close. In 1920, six Sosman & Landis scenic artists leave to form Service Studios. Many of the black and white photographs in their sales books are exact replicas of Sosman & Landis Masonic models. In other words, they are peddling the same designs without the Sosman & Landis name. Service Studios is soon sold and becomes ACME studio. The ACME studio also uses the Sosman & Landis designs in their sales catalogues.

This all happens after a big upset at Sosman & Landis. Two key figures responsible for the Scottish Rite connection pass away just before WWI; founder Joseph S. Sosman and M. C. Lilley representative Bestor G. Brown. Their passing causes the alliance between a major regalia company and a significant scenic studio to cease, allowing another studio takes the reins of Masonic degree production – Toomey & Volland. Under the leadership of Hugo R. Volland, St. Louis Scottish Rite backstage director and president of Toomey & Volland, this St. Louis-based scenic studio is awarded dozens of Masonic contracts in the post-WWI years.

Now back to the another firm delivering Scottish Rite scenery in the 1920s – the National Theatre Supply Co. Founded in 1926, the National Theatre Supply Company advertised as the “largest theatre equipment and supply service organization,” with “31 well managed, well stocked branch store in operation throughout the country, doing a volume of business considerably in excess of what was transacted when the field was being served by individual dealers. And, too, more dependable and satisfactory service is in evidence on every hand.”

Their advertisements explain, “chain store operation in other American industries is one of increased efficiency in service and pronounced economy in merchandising, reacting directly and favorably to the advantage of those who buy. This condition is being exemplified in the operation of the National Theatre Supply Company.” This paragraph is hard to read without thinking of the massive theatrical complexes targeted by this new company and not think, “Super-size me.”

In 1927, the National Theatre Supply Company noted that a new scenery and drape department was formed under its direct supervision. The new department was paced under the direction of Mr. P. L. Landis, “a specialist in stage technique with headquarters in the general offices of the Company in Chicago.” Landis was credited with being “well known to the trade, having been a member of the original Sosman & Landis Company in Chicago. With 12 years of experience in all braches of scenery production and stagecraft, he is particularly fitted to head the new department.” When Moses was elected Sosman & Landis Co. president in 1915, Arthur Sosman was elected vice-president and Perry Landis treasurer.

National Theatre Supply Co. advertisements note the following:

“The National Theatre Supply Company manufacturers nothing, nor has it any direct control over factory costs or factory list prices of any article it sells. It is strictly a sales organization and service representative of a majority of manufacturers of theatre equipment and supplies. It is therefore obvious that the establishment of selling process is not within its power, except insofar as quantity purchasing and increased consumption are concerned. Quantity production and distribution governs the price of everyday commodity or service, regardless of its nature. The same conditions apply to the theatre supply industry and any readjustment of prices must necessarily result from the patronage and support. And when manufacturers are given a suitable volume of business, their products serviced promptly and reliably and their bills paid in accordance with terms there s very little likelihood of an increase in price of these products.”

The same National Theatre Supply catalogue included a photograph with the caption, “Spacious scenic studio of William Lemle Inc. of Chicago, the entire output of which will be distributed through national service.” The problem is that the photograph actually depicted the Sosman & Landis studio prior to WWI, complete with Joseph Sosman in the center and Moses painting one of the drops. The Lemle company was simply using an old photograph of the space.

Image brought to my attention by Bob Foreman, courtesy of Rick Zimmerman

To be continued…

Travels of a Scenic Artist and Scholar. The Egyptian Theatre in DeKalb, Illinois, July 19, 2019

Brochure of the Egyptian Theatre in DeKalb, Illinois

My visit to the Thomas G. Moses’ Oak Park home and the gravesite of Walter W. Burridge took more time than anticipated on Friday, July 19. This prevented my traveling north to Fox Lake where Palette & Chisel club members once congregated during the summer. I came up with a quick “Plan B.” Looking at rush-hour traffic on a Friday afternoon, I decided to simply head to my final destination for the evening in Genoa, Illinois, by way of DeKalb. On a whim, I decided to contact the executive director of the Egyptian Theatre to see if I could stop by and see the theater.

I met both the executive director and architect who are in the midst of a major renovation, expanding the theater to expand restrooms, concessions, storage and add air conditioning. Representatives from theater had actually attended my session on researching historic venues at the League of Historic American Theatre’s conference that week.

Signs explaining the major renovation at the Egyptian Theatre in DeKalb, Illinois.

I arrived a few minutes early for my meeting, allowing me the opportunity to walk around the block and examine the “L-shaped” structure of the building from various angles. Fortunately, it was a small block, preventing me from suffering heat stroke on my short walk. It was one of those ridiculously hot and humid days. The earlier trek about the Forest Home Cemetery had just about done me in that afternoon.

View of the Egyptian Theatre’s fly tower

Alley between the auditorium and nearby buildings, the structure is “L-shaped.”

I had never stopped in the area, but downtown DeKalb is lovely with colorful floral displays dotting every corner. The front of the Egyptian Theatre is really an anomaly when compared with other buildings on the street. Opening in 1929, the exterior and interior was decorated in the popular Egyptian theme, a trend that picked up speed after the discovery of Tutankhamen’s tomb in 1922.

View of the Egyptian Theatre form the stage

As I entered the building, I examined by the narrow lobby that led to the auditorium on the right; no wonder the need for expansion. Not quite sure of what to expect in the auditorium, I was surprised by large murals on the house left and house right sides.

Looking at the rows of refurbished seating, I had to wonder what local audiences thought when the theater first opened to the public. I made my way to the stage, curious to see if any original machinery still remained. Nope.

When the building was constructed, however, the focal point of the auditorium’s Egyptian decor was a colorful fire curtain. Removed, encapsulated, and repositioned in the early 1980s, the painted composition is now difficult to see under work lights. My host graciously pulled up an image of the curtain on his phone. The scene reminded me of one in the scenic collection database at the University of Minnesota Performing Arts Archives. I went to the backside of the fire curtain to see of there was a studio stamp.

The fire curtain at the Egyptian Theatre

The fire curtain at teh Egyptian Theatre

The fire curtain under stage lights during my visit

What I discovered made my brief stop completely worthwhile. Above a very faint union stamp, was the name of the studio. The executive director was completely unaware of the stencil as I attempted to read the script. After a few moments of squinting and taking pictures to enlarge the font, it became clear that the name of the studio was “National Theatre Supply Co. Chicago.” Wow.

National Theatre Supply Co. of Chicago was one of the many theatre firms that Thomas G. Moses (1856-1934) worked for during the late 1920s and early 1930s. He passed away in 1934. He not only worked for National Theatre Supply Co., but also Armstrong Studios and William Lemle and Co, dividing his time between studios in Chicago, Illinois, and Oakland, California.

More on the National Theatre Supply Co. tomorrow.

To be continued…

Travels of a Scenic Artist and Scholar. Passing Through Thomas G. Moses’ Hometown, Sterling, Illinois, July 20, 2019

While planning my journey back from Philadelphia after an exhausting week at the League of Historic American Theatre national conference, I decided to stretch my car trip out over three days. My return trip included stops at the Cleveland Scottish Rite, Thomas Moses’ Oak Park home and Walter Burridge’s gravesite at Forest Home Cemetery. I realized that if I were to route my trip through Des Moines to see our eldest child, my journey would also pass by Moses’ hometown of Sterling.

After spending the evening of July 19 in Genoa, Illinois, with close friends and visiting the Egyptian Theatre at DeKalb, I was on the road the next morning by 6:20 a.m. Instead of taking a direct route that would take an hour, I decided to meander west first to Oregon, Illinois, and then head south along the river. That provided and opportunity to pass a few historic opera houses, understanding that I would have to be satisfied with just seeing the exterior of each building.

It was going to be another scorcher, and I was thankful to be spending most of the day in a cool car, driving along a picturesque river. I first stopped in Oregon at the Kiwanis Park to enjoyed the early morning sun sparkling down a rambling river, Then I tracked down the local opera house, as I knew there must be one somewhere nearby. It was too early to visit any theater; I located the opera house building adjacent to the Masonic hall and across from city hall – go figure.

Other stops included Castle Rock State Park and Grand Detour. Grand Detour is an idyllic town, home to an 1850 Episcopal church and an 1857 hotel. A small village nestled between two rivers; the old hotel with hitching posts was for sale. So much potential in this little town. As I ventured south, I stopped by another opera house in bustling town of Dixon; who knew that this was the birthplace of Ronald Reagan?

As I drove to my destination in Sterling, Illinois, I passed one of the major cemeteries, making a little note to come back and peak around. I would later discover that the gravestones had many scenic art family names, including Landis and Tuttle.

As I followed my navigational route to 508 W. 7^th Street, I noticed the sign “Lincoln Memorial.” This recent memorial that sat across the street from the first home that Moses purchased in 1879. For a brief period of time, the couple returned to their hometown of Sterling until Moses realized that there was not enough theatrical work in the area to cover their bills.

I sat awestruck looking at the small white house, imagining what the neighborhood looked like when the couple moved in. After all, it was only a stone’s throw away from Lucius M. Moses’ tannery along the river. Moses had left the town to escape the family trade and settle in 1879 only a few blocks away – struggling. His father had also gone out of his way to discourage local businesses from hiring his son. It must have been an incredibly difficult period in his life, as well as their marriage, when young couple was just trying to make a go of it.

Thomas and Ella in front of their Sterling Home

Before leaving town, I could not resist stopping by the local public library, chatting with the librarians, and donating a book in honor of Thomas Moses. The Sterling Public library was founded in 1878, but the current building had been constructed in 1913, another Carnegie Library building.

I soon discovered that the library’s local historian had recently retired, but I was given access to the history center and genealogy room. There I discovered some interesting history about the area, captured in old postcards and local directories. I searched for specific listings that provided answers to many of my questions about extended family members and businesses. Unfortunately I could not stay for long, as my Des Moines lunch date was over three hours away and I had another four-hour drive back to Minneapolis after that. I left town at 10:30 and headed West, all the while contemplating new bits of information that provided insight into Moses’ childhood and hometown.

To be continued…

Travels of a Scenic Artist and Scholar. Walter W. Burridge and Forest Park Cemetery, July 19, 2019

Picture of Walter W. Burridge pasted in the scrapbook of Thomas G. Moses

After visiting the home of Thomas G. Moses, I ventured over to see the gravesite of another scenic art legend – Walter Wilcox Burridge (1857-1913). The day had turned into a scenic art pilgrimage, as both Moses and Burridge were incredibly significant within the framework of American scenic art.

Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908

On Saturday, June 28, 1913, the “Oak Leaves” reported, “The funeral of Walter W. Burridge, late of New York, took place this Saturday afternoon from Grace church. Mr. Burridge died in New Mexico and the funeral took place here because Oak Park has become the home of Mr. Burridge since he became ill. Interment will take place at Forest Home” (page 34).

Unfortunately for me, my visit coincided with an intense heat wave in the Midwest. It was far too hot to be traipsing about the Forest Home Cemetery, yet I persisted, realizing that this opportunity may not dome again. Moving the car from one shaded spot to another and donning my sunhat, I finally located the Burridge’s tombstone. Kneeling in the grass before his grave, I took a moment to contemplate the life of this extremely talented artist. Despite the heat, I thought about his many projects in a relatively short period of time. Burridge died from “heart disease” at the age fifty-six years old while on a sketching trip to Albuquerque. He was working on an upcoming project for the 1915 Panama-Pacific Exposition.

A line from the musical “Hamilton” popped into my head while kneeling in the warm grass, “I ask myself, what would you do if you had more time.” Moses included an article by T. D. Williams article about Burridge in his scrapbook. Here is the article, “Great Colorist Dead.”

“A number of Chicago gentlemen prominent in the paint business have been life long friends of Walter W. Burridge, an artist of national, and one might almost say, international repute, because he visited London several times in the interest of art, who just dies while at Albuquerque, N. M., where he had gone to make sketches for pictures to be exhibits at the Panama-Pacific Exposition. The pictures painted by Mr. Burridge of the Grand Canyon earned him great praise, while other well known works have brought him equal prominence. He studied color, as every artist must do, and he sought and obtained pleasing effects for his scenic work, and is probably best known for his wonderful production of stage scenery. Many leading theatrical managers, actors and authors engaged him to paint settings and illustration for their productions, and there are few men who in the present time have painted as many excellent scenic and studio pictures. His beautiful pictures of Yellowstone National Park scenery have never been surpassed, while his wonderful scheme of color, so true to nature, makes a living record of the beauty and grandeur of the Yosemite valley, cataracts, lakes, giant rocks, towering domes and all the beauty spots of the valley which he faithfully transferred to canvas. The studio pictures of Mr. Burridge have frequently been exhibits in the various art institutions and galleries of this country. Nature was his great teacher. His mastermind gave him supreme command of the scale of color, which is evidenced by the many beautiful works of art which he has left. Mr. Burridge came from New York and was a resident for many years in La Grange, Illinois, the beautiful suburb in Chicago, in which he had many friends.”

Although I have written extensively about Burridge in past installments of “Tales of a Scenic Artist and Scholar,” here is a brief recap of his career:

At a very early age, Burridge apprenticed himself to a sign painter from Hoboken, New Jersey. His talent and outgoing personality soon brought him in contact with key personalities who were connected with the old Park Theatre in Brooklyn. Burridge soon found himself engaged as a part-time scenic art assistant, and by the age of thirteen was working full-time for Harley Merry at his Brooklyn Studio. Merry was the “artistic alias” for English stage performer Ebenezer Brittain.

Burridge was only was thirteen tears old at the time. He accompanied Merry to complete distant projects in both Chicago and Philadelphia, making all of the necessary connections for his career to soar. Burridge’s early career included a series of mentors, such as Russell Smith, who took a great interest in shaping the career of this talented young artist, later recommending him for a series of projects. Burridge’s talent and magnetic personality drew people toward him, providing one opportunity after another. His network of support included well-known performers and producers, including actress Mrs. John Drew.

Burridge’s artistic endeavors throughout the duration of his career spanned all across the continental United States and Hawaii. I will include just a few of the more notable venues. In Philadelphia, Burridge did a considerable work at the Arch Street Theatre, Broad Street Theatre, Walnut Street Theater, and Academy of Music. He also painted scenery for the Academy of Music in Baltimore, before moving to New York City where he accepted an engagement under J. H. Haverly, painting for many of Haverly’s theaters from New York to California, including the Fifth Avenue, Fourteenth Street, Niblos’ Garden, and Chestnut Street theaters. Other artistic endeavors included panoramas. In 1876, Burridge painted the “Siege of Paris” for the Centennial and later the “Battle of Gettysburg.”

He moved to Chicago by 1882, settling in suburban La Grange with his wife and securing work at the Bijou, 14^th Street Theatre and Standard Theatre. Around this time, Burridge was also under contract with John A. Havlin from 1882 to 1885 for work at the Grand Theatre. He also worked for six years as the scenic artist at the Grand Opera House and at McVicker’s Theatre; the man seemed unstoppable and scenic art was a thriving business. From 1887 until 1882, Burridge partnered with Thomas Moses (1856-1934) and successful art dealer M. Louderback to found Burridge, Moses & Louderback, located at the Columbia Theatre in Chicago. During less than two busy years, Burridge, Moses & Louderback stocked six theatres with all of the necessary scenery – no small task. Unfortunately personality clashes between Burridge and Louderback ended the partnership; Louderback came from a “managing art” background while Burridge came from a “creating art” background.

It was only a few years later, Burridge partnered with Ernest Albert (1857-1946), and Oliver Dennett Grover (1861-1927), to form “Albert, Grover & Burridge, Scenic and Decorative Painters” by 1891. Ernest Albert. Albert and Burridge, both artists first worked for Harley Merry at the Park and Union Square Theatres in New York. Albert, Grover & Burridge had a studio with over 12,000 square feet of working area, and another 2,500 square feet devoted to storage and sewing rooms. They had twenty paint frames, ranging from 56 by 35 feet to 30 by 20 feet. The firm did a considerable amount of business for the World’s Columbian exposition of 1893, including the cyclorama, “Volcano of Kilauea.” Burridge traveled to the Hawaiian Islands, making a series of faithful reproductions to capture this natural phenomenon, with his final composition measured 54’ x 412’ and was also a major attraction at the Mid-winter Fair in Sacramento. Unfortunately for Albert, Grover & Burridge, their business venture went bankrupt in two years and Burridge was again on his own.

The scenic studio founded by Walter Burridge, Oliver D. Grover and Ernest Albert

By 1900, Burridge was the scenic artist for the Chicago Auditorium and the Great Northern Theatre. He was also engaged by Henry W. Savage to prepare the scenes for the Castle Square Opera Company at the Studebaker Music Hall. We also know that Burridge designed the scenery for the premiere of “The Wizard of Oz” at the Chicago Opera House.

In 1900, Horace Lewis recalled a visit with Burridge writing, “every object, from his devoted wife to the pictures upon the walls, and his den in the garret, is indicative of the genial, most modest nature and simple poetry of the man who finds his greatest wealth within that home.”

Burridge passed away during a trip to Albuquerque, New Mexico while visiting the area to sketches for the upcoming 1915 Panama-Pacific Exposition. His funeral was at Grace Episcopal Church in Oak Park, Illinois, although the family did not attend the church. One can only imagine the projects that Burridge could have accomplished had he lived beyond the age of fifty-six.

Know as “Wallie” to his close friends, he was laid to rest at Forest Home Cemetery on June 24, 1913. His son would join him at Forest Home Cemetery three years later after an accidental drowning at the age of 30. The family grave now contains Burridge, his son son Walter C. (1886-1916) and wife Jane Anne (1860-1938). After losing her husband and son in such a short span of time, Jane lived for another twenty-two years, passing away when she was of 78 years, 4 months, and 20 days old.

Backside of Burridge grave site with dates for his son Walter “Cyril” Burridge who died three years after Walter W. Burridge

Aerial view of Forest Home Cemetery near Oak Park, Illinois

To be continued…

Travels of a Scenic Artist and Scholar. Thomas G. Moses in Oak Park, Illinois, 1905.

Thomas G. Moses lived in Oak Park, Illinois from 1893 until his passing in 1934.

A census map of Oak Park, Illinois, a western suburb of Chicago.

After Thomas G. Moses returned to Chicago in 1904, he exhibited a painting at Suydam’s drug store in Oak Park. Suydam’s was on the corner of Oak Park Avenue and South Boulevard, just a few blocks from Moses’ Oak Park home on S. Euclid Avenue.

Aerial view of the intersection where Suydam’s drugstore was locate on South Boulevard and Oak Park Avenue in Oak Park, Illinois. Notice train station nearby, making it the perfect high-traffic location. Moses’ home was a few blocks away.

An ideal location, the drugstore was right next to the railway that took commuters to downtown Chicago. In 1905, the “Oak Park Leaves,” reported, “Mr. Suydam is one of the honest, energetic business men of Oak Park, prominent alike in business and social circles. He came to Oak Park fifteen years ago from Philadelphia, where he was a graduate of the Philadelphia College of Pharmacy, one of the oldest institutions of the kind in the country. In Oak Park he is the successor of Gale & Blocki, and has not only maintained the reputation established by that firm but has earned the measure of success to which he has attained” (Saturday, June 17, 1905 – Page 30). Suydam would later sell his drug store and become an art dealer.

Moses’ painting on exhibit at Suydam’s was entitled “The Edge of the Wood.” The composition depicted a view on the Bronx River near New York. The “Oak Park Leaves” published an article on his painting and overall notoriety as a talented scenic artist and designer. Although I have previously posted about much information presented in this article, now is an appropriate moment to pause and reflect on the life of Moses when he was 49 years old. As I just turned 50, this milestone birthday causes one to consider past choices and look toward future opportunities.

The 1905 “Oak Leaves” article began, “T. G. Moses, Artist. Oak Parker Famous as Designer of Scenic Productions – excels in Forest Pictures” ” (15 April 1905, page 25). Here is the remainder of the section about Moses:

“Among the residents of Oak Park who are possibly more famous throughout the country than in their own hometown Thomas G. Moses of South Euclid avenue, whose fame as a scenic artist and designer of scenic productions is co-extensive with the theatrical world. But Mr. Moses’ art is not confined to commercial lines. He is a lover of art for art’s sake, and his leisure moments after many a hard day’s toil, are devoted to the painting of beautiful forest scenes in oil whose merits entitle him to a prominent place among the woodland painters of the country. His last picture, ‘The Edge of the Wood,’ presents a view on the historical Bronx River, near New York, and has been completed during the last month. It is now on exhibition at Suydam’s drug store on Oak Park Avenue. The painting is a fine representation of Mr. Moses’ art, imbuing the viewer with that spirit of restfulness characteristic of the quiet old woods of the east, with the outside sunshine percolating in through the trees and softening into a gentle glow.

“Mr. Moses was born in Liverpool, England. His early life was spent in Sterling, Ill, where he received his first instruction in drawing. When quite young, he took up decorative art with P. M. Almini & Co. of Chicago. The head designer was Louis Malmsha, a famous scenic artist of that time, who became interested in the young man and made him his assistant. This proved to be the making of Moses, as it placed him more in the line of work he wanted, landscape, forest interiors and mountain scenes, schooling him largely to the designing of drop curtains and scenic productions. He is now of the firm Sosman & Landis, the great scenic artists of Chicago. Mr. Moses has traveled quite extensively in this country, has been to California six times to do big scenic productions, such as Booth & Barrett’s Hamlet and Marie Antoinette and Macbeth and Mary Stuart for Modjeska. During the past five years he and his family have resided in New York, where he designed and painted the scenery for the famous Florodora and Silver Slipper. During the summers he sketched the beautiful scenery in the vicinity of Watkin’s Glen, and in the Catskills near Ellenville, N.Y. Two years ago he was admitted to the famous Salmagundi club of New York City, which has membership of their leading artists and sculptors of New York and many non-residents. He has sketched forest from California, New Mexico, Arizona, Oregon and Washington. But none appeal to him as the woods of the east, more quiet and restful, with the delicate birch and beach; a few oaks and moss covered rocks, with a small brook and plenty of sunshine. His pictures are exhibited in New York twice a year. For several years he painted in the studio of R. M. Shurtleff, the well-known painter of forest interiors, where he has secured valuable assistance.” By the way, Roswell M. Shurtleff is credited with the design of the confederate flag as he lay in a confederate hospital as a Union Soldier (see “Tales of a Scenic Artist and Scholar” #448 and #449)

To be continued…

Travels of a Scenic Artist and Scholar. Thomas G. Moses and Oak Park, Illinois, July 19, 2019

The home of Thomas G. Moses from 1893 – 1934.

Thomas and Ella Moses began house hunting in Chicago at the beginning of 1893. A few months later, they selected a home in the western suburb of Oak Park, Illinois. The S. Euclid Ave structure was only a year old and spacious enough to accommodate four young children. At thirty-seven years old, “Tom” and Ella had four children William “Pitt,” Mary Titcomb, Thomas “Rupert,” and Lillian Ella were ages fourteen, twelve, seven, and four. Moses was thirty-seven years old and at the top of his profession; life was really looking up.

Moses wrote that their new home had “very fine wood-work, a large stable, driveway, and a 60 x 178 foot lot.” They bought the house for $8,575.00, today’s equivalent of $222,238.22, a substantial sum. Although the amount was much more than the couple wanted to pay, Moses wrote that it appealed to them as no other one had. He had a perfect spot for a home studio with plenty of light. His studio was located in the attic with a high ceiling and ample room to hang pictures.

Years later, his grandchildren would recall being told not to bother their grandpa when he was painting, yet they still managed to escape to the third floor. Opening the attic door and venturing up steep steps, they were never reprimanded, just given a small project to keep them busy.

The Moses family moved into their new home on May 1, 1893 – the same day that the Columbian Exposition opened in Chicago. Moses recorded that their new home provided plenty of room to entertain World Fair visitors. There are extant photographs that depict the interior of their Oak Park home. In one, Moses sits in front of an easel in his third-floor studio. Paintings, statues, masks, and art supplies surround him, capturing a moment in the life and times of Thomas G. Moses. There was painted ornament in almost every nook and cranny of the home.

I have wanted to visit Moses’ Oak Park home since I first read about it. The Oak Park and Forest Park area, suburbs located immediately west of Chicago, were home to many Chicago artists who commuted to the city. When my trip home from Philadelphia, I had the opportunity to pass through Oak Park and see the neighborhood.

Until Moses’ passing in 1934, Oak Park remained his home. The only time that he and Ella did not live in there was when they temporarily moved to New York from 1900 until 1904. Although they spent time on the West Coast too, Oak Park was the primary home to Ella and the children, hosting seasonal gatherings for family and friends. While living in New York for the four short years, Moses found renters for the Oak Park house. In 1900, he wrote, “I didn’t regret going east; but we did miss our Oak Park home.”

On the morning of July 19, 2019, I planned my drive to Moses’ home and a nearby cemetery. Moses’ one-time business partner, Walter Burridge, was buried in Forest Home Cemetery in the nearby suburb of Forest Park. As I pulled off at the Oak Park exit, I closely examined the houses as the navigational system directed my to S. Euclid Avenue. I had already looked at the Moses’ home in Google maps, so knew the color and exterior of the home.

Picture from Google maps of the old Moses home

All morning I contemplated actually going up to the house, knocking on the door and introducing myself to the current owners. Risky move, as I was unsure of the area or the people that I may meet. Times are different and doors do not always open to reveal a smiling face. I realized that I would have to quickly explain that I was not selling a product or peddling any particular religion, before explaining my interest in their house. At least my visit wasn’t occurring during an election season.

As I walked up the front steps, it was hard not to think of the many artists who ascended these same steps throughout the duration of Moses’ life, his close friends who stopped by to chat or discuss an upcoming project. I recalled one particular instance when his close Palette & Chisel Club friends came over to examine the 300+ paintings in his attic studio, convincing him to do a one-man show.

When I reached the front door, I noticed to signs – “We still stand with Standing Rock” and “All are Welcome.” I heaved a huge sigh of relief as all trepidation evaporated. I looked at the decommissioned doorbell and decided to knock, but not too loud. A chorus of dogs responded to my knocking, and then the door slowly opened. I smiled at a woman about my own age and explained, “I’m not some nut off the street…”

Almost two hours later, I left the home. As expected, I got teary eyed when I entered Moses’ old studio on the third floor. There is still so much history and such a wonderful energy about the space. I can see why this would be the perfect paint studio for Moses or any artist. There is so much more to the story of my visit, but I can’t bring myself to share. For now, I just want to keep it close and reflect on both the details and newfound friends.

My grand tour ended with a cup of tea and a copy of her daughters’ music CD. In exchange for the hospitality and gift, I left my copy of “The Santa Fe Scottish Rite: Freemasonry, Architecture and Theater.” One chapter includes a lot of information about Moses’ life and his work at Sosman & Landis. It was the least I could do, especially after my host invited me to stay at their home anytime I came to Chicago. The family is perfect fit for the Moses home.

The CD gifted to me by current residents of the Thomas G. Moses home.

There is that moment when fate intervenes and you encounter people who make your entire journey better, enriching your life, even if it is just for a moment. I have been fortunate over the course of my studies and career to be repeatedly blessed with meeting so many positive personalities; they always overshadow any negative individual or situation that I encounter. Stopping by the Moses’ old home and meeting the current residents was absolutely magical and made me reflect how lucky I am in my own journey.

To be continued…

Travels of a Scenic Artist and Scholar. Opportunity is Not a Lengthy Visitor

Have you ever seen a sold sign on a Masonic building? I am looking for a photograph of one.

When I place the Cleveland Scottish Rite within the context of many other Masonic buildings that have been sold over the past few years, I think of one particular line from the musical “Into the Woods” – “Opportunity is not a lengthy visitor.” Many Masonic buildings are being sold for a fraction of their worth and now is the time to invest if you have the funds. Those buying these massive entertainment complexes have a strategy to turn a profit, a strategy that I wish the remaining Scottish Rite facilities would consider before selling.

Also, potential buyers are in a prime position when negotiating with a seller that is primarily composed of volunteers. For some reason, many Valleys have been told that their facility will be a “difficult” sell and to anticipate their being on the market for quite some time. Some realtors explain that Valleys should be prepared to accept less than list price and jump at the first opportunity of an offer. This establishes a certain mindset for the seller, as they are tempted to take the first offer, even if it is well below list price, since the opportunity might not come again. This also sets up an ideal situation for an ambitious buyer. The best time to purchase a building is when property owners have fallen on hard times, are desperate, or have no hope of selling.

While contemplating the recent sale of the Wichita Scottish Rite, it is easy to see the many benefits for the buyer (https://www.kansas.com/news/business/biz-columns-blogs/carrie-rengers/article226976539.html). As much as I wish this were an altruistic act to preserve Masonic heritage, I doubt that is the case. I would love there to be an independent group snatching up Masonic buildings and keeping them safe for the future generations of Masons, ready to hand them back at a moments notice when the Fraternity can afford it again. Right now, these well-built and ornate buildings are ripe fruit, ready for picking by a canny investor. For any group specializing in live entertainment, it would be the perfect time to set up a theatrical circuit.

If I were a member of the Fraternity, I might see a perfect opportunity that could result in great monetary returns. As a Mason, I would immediately recognize declining membership and that many fraternal buildings are in a state of disrepair after decades of deferred maintenance. There will be dozens, if not hundreds, of Masonic buildings placed on the market in the near future. Unlike an old building that needs to be converted into an entertainment complex, many of these buildings are ready to host hundreds, if not thousands, of annual visitors.

Many of these buildings include theaters, banquet facilities, commercial kitchens, and ample parking lots. They are perfect for hosting weddings, social events, and touring productions. In fact, they have been successfully hosting these events for decades and are a well-known commodity. In addition, these buildings are often landmarks, having been the focal point of many communities for over a century. Furthermore, the purchase of many Scottish Rite buildings comes with dedicated renters, a group whose identity remains integrally linked to the space.

For quite a while, I have considered various seller scenarios, if one particular group would begin purchasing Masonic properties and converting them into a string of entertainment venues, here is what I may do…

As an investor, I would establish an investment group to systematically target and purchase these buildings for less than list price. I would realize that this volunteer organization has a key group of individuals who really control each Valley. These are the people that I need to convince, getting them to repeatedly explain to their Valley that they need to downsize, or they will lose their building anyway. Hopefully these individuals will not take the “bull in the china shop approach” and draw too much attention when later placing their building on the market.

The same tactic will be implemented across the country so that it becomes the standard, framing it as a fiscally prudent choice to preserve their endowment (if there is one) and sacrificing their home to ensure a longer lifespan of a lodge. I would then make sure that each purchase was perceived as a generous act; not getting a great real estate deal, but helping Masonic orders stay in their homes for a while. As the new owner, I need to accumulate social capital, making sure each community see me as investing in local history while actively preserving the Masonic home.

What would be the best way to accomplish my goal? Insider information, specifically knowing which historic buildings would soon be on the market. I would need to know which Valleys were going under before the building hit the market, so that I could have everything in place and not appear to target any particular venue. Understanding the current state of various Scottish Rite Bodies would be beneficial. I would have a team in place, a team with almost unlimited resources to quickly renovate and market this entertainment venue to the general public.

The only problem may be some of the material culture in the building, such as a historic scenery collections, stage machinery, or other fraternal artifacts that may get in the way of my renovation plans. It would be best to get rid of any controversial items quickly and quietly, and this is easiest if there are no available inventories or lists. However, if the Scottish Rite Masons no longer need these artifacts for their degrees, or degree productions, it simplifies everything. If Scottish Rite degrees productions on stages are replaced with another form of instruction, the loss of a stage may not be a big deal.

I highly doubt that there is a conspiracy to make a small number of men rich as the Fraternity declines, however, a pattern is starting to develop with the sale of these massive buildings. Several generations of men helped build each Masonic home. Now one generation of men may lose most of them. I am curious to see who really owns the majority of Scottish Rite buildings in a decade. Opportunity is not a lengthy visitor.

To be continued…

Travels of a Scenic Artist and Scholar. TempleLive and the Cleveland Scottish Rite July 18, 2019

Update: TempleLive, a network of historic entertainment venues abruptly closed all location in September 2025. Owned by Beaty Capital Group, the venues often included Masonic structures such as Scottish Rite Temples.

The Cleveland Masonic Temple, once home to the Scottish Rite, is now owned by TempleLive.

I stopped by the Cleveland Scottish Rite building on my return trip from the League of Historic American Theatre’s national conference in Philadelphia. The venue has recently changed hands over the past two years and is under the operation of TempleLive, a group that is buying historic properties and using them as event centers. (https://www.templelive.com/). TempleLive is the subsidiary of the Beaty Capital Group, an investment firm with an interesting past. TempleLive’s most recent purchase was the Scottish Rite in Wichita, a significant loss for the Fraternity in terms of historical artifacts and material culture.

The Scottish Rite in Wichita, Kansas, was recently purchased by TempleLive.

The Cleveland Scottish Rite has popped up on my radar multiple times over the past years, in both personal research and blog posts. It represents a single square in the quilt of American theatre history, as well as the life and times of Thomas G. Moses (1856-1934). I first made contact with Cleveland’s Scottish Rite secretary on my way to Cleveland. He was a very pleasant fellow. Although happy to meet with me, he could no longer show me the stage area, as the entire building was under the management of TempleLive.

The Scottish Rite Secretary shared the telephone number for the local TempleLive representative, urging me to schedule an appointment that day for a tour with her. She was very accommodating and graciously set a time to meet. In addition to daily administrative duties, the local TempleLive manager is also part of the overhaul team, even painting walls and cabinets as part of the ongoing renovation work. In addition to implementing new color schemes, she negotiates the contracts with the Fraternity and is their key contact. Her immediate supervisor specializes in managing entertainment venues, the two previously working together on at separate venue in Cleveland. She explained that the TempleLive protocol is hiring local individuals and maintaining a congenial relationship with the previous owner, now a dedicated renter.

Both the Scottish Rite representative and TempleLive host could not have been more gracious or accommodating during my visit. They each spent an ample amount of time explaining the transfer of the building from the Fraternity to a private investor and the necessary renovations that needed to occur prior to using the facility for public events, particularly Live Nation events. Live Nation Entertainment advertises as a “Global Leader in Live Entertainment. Artist Powered. Fan Driven” with over 200 venues, 35,000 annual concerts, 4,000 touring artists, and 93 million fans in 40 countries (https://www.livenationentertainment.com/). They boast, “On average every 16 minutes there is a live Nation event starting somewhere in the world.”

Scottish Rite stage in Cleveland with some new lighting instruments for Live Nation.

It is my understanding that Live Nation is solely involved with the stage entertainment only and not the rest of the building. Live Nation recently installed new trusses for the secondary lighting system on the main stage. The old lighting system is still in place, but Masonic Bodies can use the new system for a substantial fee. With the continued flickering and blackouts during my stage visit, however, it is possible that the new system has problems. My TempleLive host explained that the light issues had been a problem since the new system was recently installed. Hmmm.

Lighting instruments for Live Nation shows.

Both of my hosts adamantly stressed the beneficial relationship between the Fraternity and TempleLive’s management, especially the generosity of the new owner allowing the previous owner to rent space in the building. I could not help think that the arrangement may be most beneficial to the new owner as there is no preparation for a new tenant, or any period of vacancy waiting for rental income. Yet the spin is more of generous landlord helping out struggling tenant.

My hosts were friendly, inquisitive, and sharing, yet something seemed off. In fact, as I walked through the building, I continued to experience a sinking sense of dread. It was the same feeling that I felt when the last painted setting left the Scottish Rite building in Fort Scott, Kansas; the soul of the space was gone. Interestingly, by the end of my two-hour visit, I still had no idea what happened to the historic scenery collection, who had removed the drops from the main theater or where they were currently stored. The backdrops went from “rolled up” to “in storage,” to “there may be a few still hanging.” The cathedral scene may be hanging – smart move for weddings on TempleLive’s part. There was a framed photograph of the scene that the Scottish Rite Secretary shared during my visit and both hosts stressed the beauty of the painting.

Framed picture of one Scottish Rite setting manufactured by Toomey & Volland scenic studio of St. Louis, Missouri, 1919.

To put this all in context, however, here is my current understanding of what TempleLive does when investing in a Masonic property. First of all, they target historic venues because of the construction quality and layout, an aspect stressed by my Cleveland host noting, “buildings just aren’t made like that anymore.” Paying a fraction of the building’s market value, the new owner ensures that the various Masonic orders meeting in the space still have access as renters. In the case of Cleveland, that the Masonic bodies have a base rental fee and are up-charged for a variety of services, such as using the “new” lights on stage. This is brilliant, because you not only get a good deal on real estate, but you immediately have dedicated renters who have no incentive to find another location. They are not going anywhere anytime soon as securing another location and moving all of the ritual paraphernalia is a deterrent.

So let’s start from the beginning as explained by my host… the building changes hands and TempleLive focuses on getting the stage/auditorium ready to sell seats for touring and local performers. This makes sense as it provides an additional revenue stream beyond the Masonic orders. TempleLive invests in the theater areas first. In the case of Cleveland, the $725,000 is paid for the building and 5 million was solely sunk into theater renovations, making it immediately ready for performances and additional revenue. Again, the price was $750,000 for a historic building with 102,000 sq. ft. in a prime downtown location. Keep in mind, similar transactions have repeatedly occurred during the past decade, with Scottish Rite buildings changing hands to private investors for next to nothing, in some cases only $1. Yet almost all have the agreement that the Masonic orders can still meet in the building, often for a fee. After the theater is up and running, TempleLive focuses on renovating the remainder of the building. That is where Cleveland is at right now, moving onto the remainder of the building.

One of many ornate halls in the Cleveland Masonic Temple

One of many meeting spaces in the Cleveland Masonic Temple

A lodge room still used by Masons at the Cleveland Masonic Temple, now owned by TempleLive.

Now there is a second theatre space in the Cleveland Masonic building that has yet to be renovated. Some of the original scenery is still hanging. We did not lower the historic scenes, so I have no idea if they were manufactured by Sosman & Landis in 1909 or Toomey & Volland in 1919. I took as many pictures of the stage machinery as possible. Sadly, I doubt that retaining any historic scenery directly benefits TempleLive. If anything, it is likely to be an impediment to their standard protocol in creating spaces for touring productions.

The second stage at the Cleveland Masonic Temple

To be continued…