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Part 674: Henry Wallenstein and the Scottish Rite in Wichita, Kansas

In 1898, Little Rock Scottish Rite purchased more scenery, effects and lighting for their degree. That same year another Scottish Rite building with stage was dedicated in the region – Wichita, Kansas. “The Wichita Daily Eagle” commented on the rapid growth of the Scottish Rite in Wichita, a very similar situation to the Little Rock Scottish Rite from 1891 to 1899. (6 Nov 1898, page 13). The newspaper article reported, “The pyrotechnic career of the local organization of Scottish Rite Masonry is so really marvelous and brilliant that a brief recapitulation must be of interest to all readers. Its embryonic state was commonplace and primeval enough. Eleven years ago the co-ordinate bodies in this valley were organized with twelve charter members. They then met in the Hacker and Jackson block corner Douglas Avenue and Fourth, in lowly quarters. In January, 1891, having 92 members, the Cathedral property, corner of Market and First streets, was purchased of the First Baptist church society, and fitted up for exclusive Scottish Rite purposes. From that date, the advancement was so rapid that it was very soon it became evident that those accommodations were entirely inadequate and it was talked among members to erect a new edifice on that site….The result is that right here in Wichita is located one of the most completely equipped and magnificent Temples entirely devoted to Masonry any where in the southern jurisdiction.” By 1908, there were 412 members,

Bestor G. Brown set his sites on this new project after outfitting the stage at the 1896 Albert Pike Cathedral in Little Rock, Arkansas. The scenery for the stage was subcontracted to Sosman & Landis. In addition to representing E. A. Armstrong Manufacturing Co. of Chicago in 1898, Brown was the stage director for the Wichita Consistory. This allowed him to speak with his Scottish Rite clients in Kansas from a unique position and deep understanding of the demands for various degrees. Even though Brown’s his primary residence was in Chicago from 1892 to 1898, he remained active in Kansas Masonry. As a traveling salesman, Brown’s returning to Kansas for a Scottish Rite reunion twice each year helped fraternal sales.

In Wichita, Brown recommended the purchase of a building for their Scottish Rite, just a he had in Little Rock, Arkansas. The renovation of an existing building was far less costly than the construction of an entirely new structure. As with Little Rock, the renovation included a theater space. The Valley of Wichita purchased the Young Men’s Christian Association for during January 1898, and extensively remodeled the space to include a 300-seat auditorium. $15,000 was spent on the inclusion of a stage, scenery and other necessary paraphernalia.

Brown was not alone in this endeavor. There was a second Scottish Rite Mason from Wichita to greatly aided in promoting the theatrical interpretation of Scottish Rite degree work- Henry Wallenstein, a 33rd degree and Grand Cross. In Wichita, Wallenstein was the Director of the Work. Born in Cincinnati, Ohio, Wallenstein moved to Wichita at the age of twenty-seven and entered the mercantile business, becoming a co-owner of the business by 1886. He came from a city that was well-known for staged degree productions and beautiful Masonic theaters. As with Brown, Wallenstein became a well-known “staging expert” for the Scottish Rite degrees. His contributions to the successful dramatization of degree work were recognized as an outstanding achievement in Masonry.

Wallenstein was a Deputy of the Supreme Council in Kansas during 1909 when the second Scottish Rite building was dedicated on November 19. From the modest 300-seat auditorium of 1898, the Wichita Scottish Rite constructed a 1500-seat auditorium. Located on Seventh Street and Ann Avenue in Wichita, the dimensions of the complex were 138 feet long, 65 feet wide, and 78 feet high. Towering four stories over the area, the building was exclusively constructed for Masonic uses. By 1910, there were 2,400 Scottish Rite Masons holding membership in Wichita Consistory No. 2. That same year, the “Wichita Daily Eagle” reported, “Wichita Consistory is now without peer throughout the southern grand Masonic jurisdiction in the high quality of the dramatic work placed and staged before yearly increasing classes; and in numerical membership, and ranks high among other cities of the world. It boasts the costliest cathedral exclusively dedicated to Masonry, in the world” (3 July 1910, page 5). The article continued, “To Henry Wallenstein as to no other one man, belongs the most credit for any single individual…For ten years Mr. Wallenstein has been the Director of the Work, his fine dramatic personality, rare histrionic conceptions, pecularly [sic.] fitting him for this trying position.”

The 1909 stage measured 60 feet wide by 35 feet deep, necessitating all new scenery and stage equipment, including Brown’s special system. By this time, Brown was the western sales manager for M. C. Lilley and a Past Grand Master of the Grand Lodge of Kansas. He was well-respected throughout the country and known as the only Masonic stage carpenter in the United States.

The 1898 scenery and stage machinery in Wichita were returned to M. C. Lilley & Co. for credit on the purchase of their new collection. Only a few pieces were retained; the seventeenth degree visions drops were enlarged and are still used today. Keep in mind that in 1909 Brown’s special system was the standard counterweight system delivered by Sosman & Landis, subcontracted by M. C. Lilley & Co. It likely replaced their previous counterweight system. The used system and stage machinery were then sold to another Scottish Rite Valley – Yankton, South Dakota.

It remains uncertain as to what the 1896 stage machinery delivered to Little Rock, Arkansas looked like, but it likely was similar to what was delivered to Wichita in 1898 and is now at the Scottish Rite in Yankton, South Dakota. The rigging system delivered to the Yankton Scottish Rite is an interesting blend of elements, including a pinrail and cloth-wrapped iron weights, resembling sand bags. There is no question that the scenery delivered to the Scottish Rite in Yankton was the original Wichita Scenery. As is the case in Pasadena with the Little Rock collection, the Wichita scenery was clearly marked with shipping notes on the sandwich battens and “Wichita” as the first destination written on the back of many drops. The same writing is still apparent in Wichita on a few enlarged scenes that remained at the venue. This makes the scenery in Yankton, the earliest known example of a counterweight rigging system used in the Southern Jurisdiction.

 

To be continued…

Part 673: Charles E. Rosenbaum and Little Rock, Arkansas

Bestor G. Brown arrived in Chicago during 1892, and by 1894 he was working as a traveling salesman for fraternal supplier E. A. Armstrong Manufacturing Co. of Chicago. 1892 was also a significant year for the Little Rock Scottish Rite as the Bodies were reorganized. At the time, their was a total membership of only 18. Over the course of three years the Little Rock Scottish Rite would gain 84 32^nd degree Masons in their Consistory, with a total membership of 115.

When the Little Rock Bodies reorganized in 1892, there was not a single piece of paraphernalia to confer the degrees. Within a very short time, the Little Rock Scottish Rite went from nothing to fully-staged degree productions with hundreds of members. During the period from October 23, 1891, until February 21, 1895 the Little Rock Scottish Rite received $11,357, of which $3,627.46 was spent for paraphernalia and another $367.10 for fixtures and furniture. For the 1895 Fall Reunion in Little Rock, the Scottish Rite announced, “We are well equipped with paraphernalia for the proper conferring of these beautiful degrees.” That year the Little Rock Scottish Rite would plan for the construction of a new home. The last reunion held in the Masonic Temple was during the summer of 1896, with the plan that the fall reunion would be held at their new home.

In 1896 an existing Little Rock building was renovated to include a stage. Located on Center Street between Third and Fourth Street, the structure was constructed as a Jewish synagogue. The building was remodeled and equipped for a total of $12,000, allowing the growing membership room to expand and stage portions of their degree work. By 1898 changes continued to be made to the building, especially in the areas of additional scenic and electrical effects.

Little Rock’s Fall Reunion program of 1898 praised the new scenery acquisitions, commenting, “The building has the same appearance outside as when you saw it last, but when you enter the auditorium, don’t beat a retreat – thinking you are in the wrong place – it may take you a moment or two to become accustomed to the great change in the interior, but you will soon feel home again, and will enjoy a will enjoy to a much greater extent the exemplification of the various degrees, assisted so materially by additional scenic and electrical effects, on which neither labor or expense have been spared, to the end that it might be the most perfect to produce” (“Fall Reunion Program” Albert Pike Scottish Rite Cathedral, 1898). This second scenery collection was again delivered by Sosman & Landis. As with many Valleys, the skyrocketing membership demanded a larger facility, so a second building was constructed, moving the Scottish Rite from Center Street to the northwest corner of 8^th and Scott.

The Albert Pike Consistory Building was dedicated on September 18, 1902, With Charles E. Rosenbaum, as Sovereign Grand Inspector General in Arkansas, presiding over the dedication ceremonies, with Bestor G. Brown giving an address. At the time, Brown was the Deputy Grand Master of the Grand Lodge of Kansas. By 1905, the Little Rock Consistory building was christened the “Gem of the Southern Jurisdiction.” Within the first decade of use, however, the Little Rock Scottish Rite Bodies were already outgrowing their home. The Albert Pike Consistory was remodeled and enlarged by 1913. The expansion of the Albert Pike Consistory Building incorporated the 1902 building into the complex, but added a projecting front bay and triangular pediment, supported by four fluted Ionic columns. The Little Rock Scottish Rite remained in this space until their move to the Albert Pike Memorial Temple in 1924.

In 1919, the Grand Lodge of Arkansas building burned, prompting discussions concerning a new home to house the Grand Lodge of Arkansas, two Blue Lodges, the Scottish Rite and the York Rite. This magnificent edifice would span an entire city block and contain 156,00 square feet.
On May 12, 1924 the new building was dedicated the “Albert Pike Memorial Temple.”  This is the current home of the Little Rock Scottish Rite.

When the Scottish Rite left the Albert Pike Consistory building for the Albert Pike Memorial Temple building, the 1902 Little Rock scenery collection was split between the Valley of Pasadena and the Valley of Miami. It is possible that elements from the original 1896 and 1899 installations made up a portion of the collection. At the time, many Scottish Rite theaters retained certain scenes, even when purchasing brand new collections. The stage aesthetic remained constant, and certain scenes were cherished by the membership.

The Little Rock collection included approximately 100 drops and over 100 scenic pieces (flats, profile pieces and ground rows). When the scenery was divided for Miami and Pasadena, additional scenes were added at the time. Over the years, Pasadena continued to add scenic elements, yet seldom removed any backdrops. They also did not replace their entire counterweight system. Brown’s special system only remains in Pasadena, the Miami Scottish Rite having replaced their stage machinery and original drops.

There is no question that many of the backdrops in Pasadena came from the Albert Pike Consistory building. Original charcoal labels and shipping stencils denote “Little Rock” as the delivery destination. Furthermore, one bottom batten includes the Scottish Rite recipient, Charles E. Rosenbaum. There are also two scenes in the current Pasadena collection that exactly match two photographs included in the 1904 Little Rock Scottish Rite spring reunion program- King Cyrus’ throne room and the camp scene. This makes the Pasadena Scottish Rite extremely significant in not only theater history, but also the history Scottish Rite Freemasonry. It holds some of the earliest stage elements used in the Southern Jurisdiction. The collection in Pasadena is part of Charles E. Rosenbaum’s and Bestor G. Brown’s legacy.

The “Scottish Rite Orient of Arkansas” website explains, “Brother Rosenbaum’s service to the Scottish Rite remains unmatched since his death.  Successive generations and thousands of Masons have enjoyed and continue to enjoy the many improvements and innovations that he infused into our great fraternity.  The Scottish Rite of Arkansas has always felt honored and privileged to have had Albert Pike as one of our own and his contributions are countless but we are also thankful to have had Brother Rosenbaum for his innumerable contributions to our Craft.” One of the greatest contributions that Rosenbaum personally oversaw still exists – the stage machinery and scenery now in Pasadena.

To be continued…

Part 672: Charles E. Rosenbaum and Degree Productions

In 1930, Thomas G. Moses wrote that the three men who “had all to do with the starting of the Scenic decoration of real Scottish Rite Degree work” were Charles E. Rosenbaum, Bestor G. Brown and Joseph S. Sosman.

Charles E. Rosenbaum was born in St. Louis, Missouri during 1855.  At the age of twenty-eight, he moved to Little Rock, Arkansas, founding C. E. Rosenbaum Machinery Co. His business endeavor flourished, becoming one of the most successful machinery and mill supply companies in the region.

Rosenbaum joined the Fraternity in Little Rock, Arkansas. On March 10, 1886, he was raised a Master Mason in Magnolia Lodge No. 60. The Scottish Rite of Arkansas credits Rosenbaum with conceiving the idea of staging the second section of the Master’s Degree (here is the link: http://www.ark-scottishrite.org/charles-e-rosenbaum.html.) The Master’s degree, or third degree, of the Symbolic Lodge involves the murder of King Solomon’s chief architect during the construction of the Temple. In fact, it is this story introduced in the third degree that form the basis for many Scottish Rite degrees.

Rosenbaum’s proposal to theatrically stage the third degree was nothing new, but it was new to the area where he was proposing it. Rosenbaum submitted a formal request to the Grand Lodge of Arkansas to grant him permission to stage the Second Section of the Master’s Degree. He was granted permission. On November 20, 1906, Worshipful Master Rosenbaum conferred the third degree on Brother William C. Bond in the auditorium of the Albert Pike Consistory.  The event was recorded to include the largest attendance of the Grand Lodge of Arkansas ever assembled up to that time. Now consider that Rosenbaum had been involved in staging Scottish Rite degrees in Little Rock since 1895. He was involved in creating the first Scottish Rite theater in the State of Arkansas. By 1896, Little Rock’s Albert Pike Cathedral was completed and boasted both scenery and stage machinery by Sosman & Landis. Rosenbaum would become a very good friend of the scenic artist who painted many of the Little Rock scenes – Thomas G. Moses, the final president of Sosman & Landis.

Since the 1850s, Scottish Rite bodies in the Northern Jurisdiction had staged portions of their degrees. The Blue Lodge, otherwise referred to as the Symbolic Lodge, included the first through third degree. The Scottish Rite expanded on the story of the third degree and other legend in the fourth to thirty-second degrees, with an honorary thirty-third degree. Scottish Rite Orient of Arkansas’ website includes a section in Rosenbaum, noting, “Brother Rosenbaum was convinced that this new innovation would not only better serve the candidate but the membership as well.  A dramatic conferral of this most precious of Masonic degrees would, without a doubt in his mind, leave a greater impression upon the candidates but engage the fraternity in a way that it had never seen before.  With special effects, lighting, elaborate regalia, stage props and the burning of incense; all of the human senses would be tantalized and stimulated by this new delivery system for these ancient moral lessons.” Not exactly.

I want to stop for moment to reflect on the state of the Fraternity in terms of staging degree work from the first thru thirty-second degree. The Northern Masonic Jurisdiction of the Ancient and Accepted Scottish Rite of Freemasonry had staged degrees for decades before they became popular in the Southern Jurisdiction. Part of the reason that they were not immediately imitated in the Southern Jurisdiction was because of Grand Commander Pike. Pike controlled the Rite from 1859 until his passing in 1891 and was not a fan of degree productions. Although all of the Scottish Rite degrees had been communicated to hi in one day, he believed that men should slowly pass through the degrees. In fact, Pike’s quote from his 1882 Allocution included “The Rite in this Jurisdiction is a Rite of instruction, and not of scenic pomp and stage-show. I can not conceive of a more useless occupation than the arranging and performing of degrees, neither the effect nor the purpose of which is to make men wiser or better, but which are acted as melodramas, to gratify an aesthetic taste and please the imagination, like the pageantry of cardinals and orioles.” When Pike was in charge, there were no large theatrical endeavors started in the Southern Jurisdiction, well, at least that he was aware of. We do not know for a fact that the Grand Lodges in the Southern Jurisdiction completely banned the theatrical interpretation of any degree work, but it would stand to reason that experimental attempts had occurred over the year. There are articles that verify the existence of stages in the Southern Jurisdiction before Pikes’ passing in 1891.

In Cincinnati, a Northern Jurisdiction city, Master Masons were courted in Blue Lodges with notion of a superior degree experience in the local Scottish Rite. Now governance was a little different in the North Masonic Jurisdiction as there were rival Supreme Councils. My research suggests that the early implementation of Masonic stages with scenery, lights and special effects, was a way to increase membership, even steal members from a rival organization. Again the use of theatrical elements promised a superior degree experience for both the candidate and membership. Of this time, I think of two kids are playing happily in a sand box when a third kids stops by and says, “You should see what WE’RE doing in our sand box.” It is likely that at least one of the two kids would leave to check out the nearby activity.

Prior to Rosenbaum joining the Little Rock Scottish Rite, it was a fledging Masonic order in the region like many, suffering the after effects of the Civil War.  The Scottish Rite Orient of Arkansas website states, “Brother Rosenbaum was the first person to take Albert Pike’s degrees and dramatize them for a more attractive initiatory experience in the Scottish Rite as well.  Illustrious Brother John H. Cowles, 33°, Sovereign Grand Commander, said this about Brother Rosenbaum:

“His fame spread throughout the Southern Jurisdiction.  Many letters were received by him from other Valleys, to all of which he replied in a most fraternal and helpful spirit, and so it was not long until many other Valleys, and then still other Valleys throughout the Jurisdiction, began to confer the degrees in a manner worthy of them.  That work has grown until now we have magnificent temples all over the Jurisdiction, build especially to enable the officers and members to impress the degrees through proper ritualistic interpretations upon hundreds and thousands who have come into the Scottish Rite since that time.  He certainly was the pioneer, and deserves the credit we freely give to him.  His worth was soon noted by the Supreme Council, and he was appointed on the Ritual Committee before he was an active member of the Supreme Council.”

He certainly was popular and propagated the use of degree productions, but Rosenbaum was not the first to conceive of the idea in the Southern Jurisdiction. He was possibly one of the first to be publicly recognized in the Southern Jurisdiction besides Bestor G. Brown. There are examples of stages in Southern Jurisdiction building that appeared well before Rosenbaum joined the Fraternity. These stages were constructed in a standard Masonic hall or lodge room before becoming state-of-the-art stages. Furthermore, many of these stages were in states boarding the Northern Jurisdiction; close to Southern Jurisdiction Valleys where membership observed the success of their nearby brothers.

To be continued…

Part 671: Charles E. Rosenbaum, Bestor G. Brown and Joseph S. Sosman

I have examined Bestor G. Brown and Brown’s special system over the course of several posts, placing both within the context of Midwestern stage carpenters and scenic artists.

Brown’s special system was manufactured by Sosman & Landis and marketed by Bestor G. Brown, western sales representative of M. C. Lilley & Co. Documented examples of Brown’s special system include Little Rock, Arkansas, Guthrie, Oklahoma , Duluth, Minnesota, Wichita, Kansas, Memphis, Winona, Minnesota (1909, recently demolished), Tennessee, Cheyenne, Wyoming, Santa Fe, New Mexico, Portland, Maine, Grand Forks, North Dakota, Asheville, North Carolina, and Tucson, Arizona.

Thomas G. Moses credited with origin of Masonic designs to David A. Strong. In 1911 after Strong’s unexpected death, Moses wrote, “Strong was the ‘daddy’ of all Masonic designs and he was a 32^nd Degree man.” We know that Strong was both a scenic artist and stage carpenter, instrumental in some of the earliest Scottish Rite scenery for the Oriental Consistory of Chicago.

Moses mentioned three other men in his memoirs who he credited with “the starting of the scenic decoration of real Scottish Rite degree work”– Joseph S. Sosman, Bestor G. Brown and Charles E. Rosenbaum.

In 1930, he Moses wrote letters Frank M. Jefferson at the Albert Pike Memorial during April 1930. In the last, he mentions the three men:

“April 20, 1930

My Dear Brother Frank,

I have tried for sometime to write you, to thank you for sending the wire that announced the death of one of my best friends. A man that I had all of the ­Brotherly Love for that was possible to give.

While at times, he would go for me rough-shod for some neglect of mine, but at the same time would go out of his way to help me in more ways than one, he gave me more sound judgment on my work than I have had from anyone outside of Bestor Brown – and I have put it to useful work. I am going to ask a favor. I want a photograph of Mr. Rosenbaum to place with the one I have of Bestor Brown, my two advisors in my chosen vocation.

Thanking you in advance and with best regards to all.

Sincerely and fraternally yours,

Thos. G. Moses”

_____

“April 29, 1930

My Dear Jefferson,

Yours of the 25^th received. I will visit Little Rock, every time I am in your vicinity, as I count on a warm welcome by my friends.

You mention having enclosed a photo of C. E. Look about your desk and you will find that you did not include it. I shall certainly be pleased to receive it.

I wish you would remember me to the Harris boys and father, Bill Leipzig (I have forgotten how to spell his name) also to Gene Smith and others.

Thanking you again for the photo which you will send.

I am sincerely yours,

Thos. G. Moses”

_____

“April 30, 1930

My dear Frank,

The photo has arrived. I had supposed it was one you intended to include with your letter. I don’t know how to thank you enough for this wonderful portrait you have been kind enough to send me. I will now have the 3 men that had all to do with the starting of the Scenic decoration of real Scottish Rite Degree work: Rosenbaum, Brown and Sosman. Many – many – thanks for the photo.

I am sincerely yours,

Thos. G. Moses”

_____

Charles E. Rosenbaum was president of the C. E. Rosenbaum Machinery Company in Little Rock, Arkansas. Like Brown, he held many offices in the Fraternity, including S.G.I.G. of Arkansas and the Lieutenant Grand Commander of the Supreme Council. Tomorrow, I will look at the remarkable life of Rosenbaum, a man who insisted one should never lose sight of the fact that a business is built on honor and should be maintained in the same manner.

To be continued…

Part 670: A Melting Pot of Ingenuity 

There are four things to consider when examining the development of Brown’s Special System – the Chicago Auditorium, the Beckwith Memorial Auditorium, the scenic studio of Albert, Grover & Burridge, and Sosman & Landis. There is no linear progression of events and Chicago is a melting pot of ingenuity.

I’ll start with what Rick Boychuk wrote in “Nobody Looks Up: The History of the Counterweight Rigging System,1500-1925.” Boychuk contends that Chicago Auditorium of 1889 is a game changer in the future of American counterweight rigging. Of the endeavor, he writes, “The first counterweight rigging system in American was state-of-the-art technology when it was installed in 1889 in the Auditorium Building in Chicago – commonly referred to as the Chicago Auditorium” (page 167). Boychuk explains how Ferdinand Peck, the visionary for the Chicago auditorium, traveled to Europe to examine opera houses, later joined by architect Dankmar Adler (Adler & Sullivan) and Chicago stage carpenter John Bairstow. Boychuk states, “Chicago borrowed the sheave design and configuration from Budapest and the balance of the counterweight system from Vienna” (page 172). Read his book.

Things to think about as we contemplate the evolution of Brown’s special system: the Chicago Auditorium stage carpenter, Bairstow, was one of the charter members who founded Chicago’s Theatrical Mechanics Association. In fact, he was the organization’s first president in Chicago. Bairstow was a member of TMA Chicago Lodge No. 4. David Austin Strong was also a Member of Chicago Lodge. No. 4. At the time they were both members in 1891, Strong was an employee of Sosman & Landis, and was also credited as being the “Daddy of Masonic Design.”

This title was given to him by Thomas Gibbs Moses in his 1931 memoirs; Moses became the president of Sosman & Landis in 1915. Before Chicago, Strong enjoyed a successful career in New York as both a scenic artist and stage carpenter. Strong even provided one of the scenes for the 1866 production of “The Black Crook” at Niblo’s Garden Theatre. At this same time, the Theatrical Mechanics Association was founded in New York (1866). During the 1870s Strong relocated to Chicago, the hub of theatrical construction and activities after the great fire of 1871. Joseph S. Sosman moved to Chicago in 1874, with the Sosman & Landis studio being established by 1877. Sosman & Landis was the primary manufacturer and installer of Brown’s special system in Scottish Rite theaters across the country.

At Sosman & Landis, Strong, Moses, and another stage carpenter by the name of Charles S. King were part of a special group; this group could be considered scenic artists with a thorough understanding of stage machinery, or stage carpenters who paint extremely well. Each had a specific task that he gravitated toward, but their job title by no means limited their abilities and contributions to one task or a single skill. Others in this group included Walter Burridge and Ernest Albert. Albert and Burridge were two of three founders who established another Chicago scenic studio in 1891 – Albert, Grover, and Burridge. One of their largest projects would be the manufacture and delivery of scenery and stage machinery for the Beckwith Memorial Theatre in Dowagiac, Michigan. This theater is significant within the framework of American theatre history.

Here is a refresher of the Albert, Grover & Burridge before revisiting the Beckwith Memorial Theatre and its link to the Chicago Auditorium. Ernest Albert (1857-1946), Oliver Dennett Grover (1861-1927) and Walter Burridge (1857-1913) founded “Albert, Grover & Burridge.” Their studio was located at 3127-33 State Street, Chicago, covering an area of 100×125 feet. Two of the founders had a significant tie to stage carpenter Bairstow: Albert worked as a scenic artist for the Chicago Auditorium and Chicago Opera House, while Walter Burridge was the scenic artist for both the Grand Opera House and McVicker’s. Keep in mind that John Bairstow worked as a stage carpenter at McVickers, the Grand Opera and the Chicago Auditorium. Grover was an art instructor at the Chicago Art Institute and linked to the planning of the Columbian Exposition. Albert and Burridge both worked with Thomas G. Moses at Sosman & Landis during the 1880s. Each would have known the long-time Sosman & Landis stage carpenter, Charles S. King. King is also a possible contender for the conception and development of Brown’s special system.

The scenic studio of Albert, Grover & Burridge is described in “Chicago and its Resources Twenty Years After, 1871-1891: A Commercial History Showing the Progress and Growth of Two Decades from the Great Fire to the Present Time.” The studio was mentioned as implementing advancements in the methods of mounting and presentation of stage plays. Albert, Grover & Burridge leased the old Casino building on State Street, just south of 31^st street, and renovated it. Their space included 12,000 square feet of working area, and another 2,500 square feet devoted to storage and sewing room. There were twenty paint frames, ranging from 56 by 35 feet to 30 by 20 feet. This was a sizable complex.

A unique feature implemented by Albert, Grover & Burridge was that it included a staging area for scenic effects and innovations. The abovementioned publication reports, “The studio is so large that it permits the artists to introduce a novel feature in the art of painting scenery, which has been in their thoughts for some years. That is after a scene is painted, it can be hung, set and lighted in an open space the full size of any stage in the country, so that a manager can not only inspect it as an entirety, and thus suggest alterations, but he can bring his company to the studio and rehearse with the new scenery.” This idea had already been partially implemented by the Hanlon brothers at their private theater and workspace in Cohasset, where their master mechanic William Knox Brown tested new stage machinery and effects. Albert, Grover & Burridge went beyond the manufacture of scenery – they were the visionaries who combined painted illusion, lighting innovations, and new stage machinery. They were no different from other scenic studios in Chicago, they just had the space to expand and add a staging area. Scenic studios, with their staff of stage carpenters and scenic artists remained at the forefront of technological advancements, integrating old techniques with new technology. Unfortunately for Albert, Grover & Burridge, their business venture went bankrupt in two years, so they were not around when E. A. Armstrong and Bestor G. Brown were looking for a scenic studio to subcontract for Scottish Rite work. Sosman & Landis were waiting in the wings. However, their contributions can not be discounted when looking at the circle of innovators who helped disseminate the new counterweight technology.

By 1901, a Minneapolis “Star Tribune” article notes new settings at the Bijou Theatre in the article “Experts Behind the Scenes” (January 13). This provides a little context into the shifting staging techniques for commercial theater productions: “The stage proper was divided by the old system of grooves, which were used to hold up the scenery into divisions, one, two, three and four, where the stage was extra deep, sometimes five and six. Grooves are a mechanical contrivance in which the scenes slide back and forth. This method of stage setting is very seldom employed at the present time, the more modern arrangements of setting scenes in a box shape, supporting them with braces and connecting them by lash lines, being more common use.” At the same time box sets became more standard leg drops and fly scenery replaced wings, shutters, and roll drops.

In 1899 the fly scenery at the Beckwith Memorial Theatre is examined in “W.A. Norton’s Directory of Dowagiac, Cassopolis and La Grange, Pokagon, Silver Creek and Wayne Townships” (1899). The publication reports, “The scenery is designed for the cyclorama effect which has been found so effective, and which was first used in the Auditorium in Chicago. By this arrangement a scene can be set as a street or garden by simply moving the scenes which are profiled on both sides and top, anywhere desired. Every set of scenery is a finished piece of art. It is, after the latest fashion, lashed together with ropes and is capable of being made into seventy-five distinct stage dressings” (page 159). Earlier newspapers described the thirty-six hanging drops that could be combined in various combinations for seventy-six set possibilities.

The Dowagiac “Republican” from January 18, 1893 described the new building as “The finest theater in America,” elaborating on the painted scenery: “It is the fitting and arrangement of the stage in the Beckwith Memorial Theatre, that the greatest care has been exercised to obtain the best possible results, and a great degree of success has been obtained. To go into technicalities and the use of stage terms would not be perhaps intelligible to our readers generally, so we will note only the main points. The stage is fifty by thirty-eight feet. Up to the gridiron, from which is suspended by an elaborate system of lines and pulleys all of the stage settings it is possible to use in the form of drop curtains, is fifty feet, allowing ample room for hoisting out of sight a whole screen in a few seconds, and allowing rapid changing of scenes so necessary to the continuing of the action of a play and effects are made possible that were unknown in the old days of sliding flats. To those acquainted with and interested in things theatrical and matters pertaining to proper stage fitting we think it is sufficient guarantee of the success of the stage to say that Albert, Grover & Burridge, of Chicago, had the direction of the stage fittings and the wall decorations of the auditorium and the entire building. Ernest Albert, of A., G., & B., under whose direction the art glass, colorings, the selection of draperies, and the furnishings of the theater were made, had succeeded admirably in producing the most beautiful and harmonious whole.”

The Beckwith Memorial Theatre of Dowagiac, Michigan, was built in 1892 for the cost of one hundred thousand dollars. Albert, Grover & Burridge directed the plan and installation of all stage fittings, the wall decorations of the auditorium, and painted décor throughout the entire building. This was a major extravagance for a small town that numbered less than seven thousand people. For more information pertaining to this theater, see past installment 134.

To be continued…

A little more than a decade after Seth G. Bailey invented an electrical mechanism for handling hanging scenery, Victor H. Volland came up with another option to handle scenery. In 1930, the United States Patent Office published an application filed on August 23, 1926 for operating curtain drops.

Victor H. Volland of Clayton Missouri, assignor to Volland Scenic Studio, Inc. of St. Louis Missouri, a corporation of Missouri submitted an application for a patent pertaining to the “Operating Means of Curtain Drops.” Victor wrote, “My invention related to improvements in means for operating curtain drops, in which each curtain drop together with hoisting mechanism and other accessories are combined into a single unit.”

Victor H. Volland was Hugo R. Volland’s son. Hugo R. Volland (1866-1921) founded a scenic studio in St. Louis, Missouri with Patrick J. Toomey (1861-1922) called Toomey & Volland at the turn of the twentieth century. Here’s little background about the inventor of the patent’s family.

Hugo R. Volland was born on May 6, 1866 in Großenbach, Germany. He was first listed as a St. Louis resident in 1888, living with his brother Otto and advertising as a painter. He worked for Noxon & Toomey as a studio as a scenic artist and secretary for the firm in 1892. By 1901, Hugo R. became vice-president of Noxon & Toomey. In 1902, the firm’s name was changed to Toomey & Volland. Toomey remained president of the company until 1919 when he retired. Hugo R. then became president, with his youngest son being vice-president.

Hugo R. and his wife Laura had three children – Louis J. (1897-1973), Victor H. (1899-1964) and Rose M. daughter, Rose (married name was Rose du Mosch). We are going to focus on the sons for now.

Even though Victor H. was the youngest son, he would be the first successor of Hugo R after his passing in 1921. Victor H. joined the United states Army during July 1918 (Private, 332nd Battalion, Company A). He entered the Tank Corps and sailed Sept. 29, 1918, landing at Bordeaux where he was stationed at Langres, France.

He safely returned home from military service and married by 1920. Victor became the secretary for Toomey & Volland and continued in this position until his father’s death in 1921. At this point the company began to change, as Toomey had already retired three years prior to Victor taking the reign from his father. When Victor became president of the company, his older brother Louis became the vice-president. At this time there was a notable shift in the tenor of the company.

There was also a shift in studio locations. In 1900, Toomey & Volland studio was located at 2312-14-16 Market Street, just outside the downtown theatre district. This lot was owned by Toomey. In 1922, Toomey & Volland scenic studios moved to a new location at 3731-33-35-37 Cass Avenue. Hugo R. never saw the completion of the new building as he died of heart disease before its completion. His wife Laura also passed away from heart disease, just a few months later; she died in a theater.

Patrick Toomey died from a heart attack in 1922 only a year after Volland passing. His passing was the same month that the studio was anticipated to open – March. Toomey’s only son followed a different path in life and the scenic studio was under the complete control of the Volland family. To lose the two founders within a year, caused major changes in the company’s focus. The production of painted scenery at the studio began to take a back seat, and the manufacture theatrical equipment assumed a more dominant role. Furthermore, the name of Toomey was removed from the firm, beginning the age of Volland Scenic Studios, Inc.

Imagine my surprise yesterday evening, to see a detail photo of a fly rail with lights that looked like Volland’s drawing from his patent on FB Group Archiving Technical Theatre History. On February 7, 2019, Robert Bob Foreman posted a photograph with “Has anyone ever seen one of these? Mounted to the flyrail of the 1927 (Kalamazoo) State Theatre, it appears to be a series of cue lights, with switches operated by the cue-ee! System installer unknown.”

In all appearances, it looked like a part of what Volland invented in 1926. Attached is the 1926 patent with images. Volland’s patent described, “Mounted in the guard box 18 is an incandescent lamp 19 provided with a switch 20, said guard box being secured to a forwardly projecting end of the top member 11. At a particular time during a theatrical performance the map 19 may be caused to light, indicating to an attendant that a certain curtain is wanted, and by opening the lock 12 and pulling the rope 7, the curtain is raised or lowered as desired. Prior to this invention such devices were without individual locking devices and signal lamps.”

To be continued…

Part 638: Electrical Mechanism for Handling Hanging Scenery, 1910 

The best and worst part about writing my blog is I can go off on little tangents. There is no looming deadline, direction, or moment when all research needs to cease and I aim for a publication date. I try very hard not to get lost in the details, staying on track with a specific year in the life and times of Thomas G. Moses (1856-1934). However, the beauty of slowly meandering through history is that I get to fix incorrect information that I previously stated, or expand on something from an earlier post. Occasionally, I find a newspaper article and tuck it away for a specific year. Such is the case for the subject of today’s post, as it connects to the development of stage machinery during the first decade of the twentieth century. It aims at a stage improvement for operating scenery, similar to the idea that prompted the development of Brown’s special system. Electrical appliances to handle scenery was cutting-edge innovation in 1910.

I approach this information as a scenic artist and designer with some knowledge of stage machinery. I am not an expert in theater rigging or the history of counterweight systems. Luckily I have friends who are the experts in this field. It is wonderful to be able to throw out an idea without fear, or any thought that I may be reprimanded for my lack of knowledge. I may hear, “Didn’t you read my book?” or “I don’t think so.” But occasionally there will be a “That’s a remarkable discovery,” and “I hadn’t thought about that.” It reminds me of brainstorming for any project. It is only through continued discussions about discoveries with experts that new information comes to light. They bring additional information to the table, information that only can come through age and experience.

Here is a mind blowing article that I stumbled across well over a year ago. It was published in the “Lincoln Star” on Dec. 18, 1910. Keep that date in mind – 1910. I came across the article while I was looking for information pertaining to David H. Hunt, the Sosman & Landis salesman who was a founder of New York Studios, a scenic firm) and Sosman, Landis, & Hunt, a theatrical management company. New York Studios was advertised as the eastern affiliate of the Sosman & Landis, similar to many regional offices established by scenic studios during this time.

Here is the article in its entirety:

“A bas the stage hands,” exclaimed Mr. Martin Beck, general manager of the Orpheum circuit, today, says the Denver Times. Mr. Beck came to Denver to meet M. Meyerfield, Jr., president of the Orpheum circuit company. Together they are going to Oklahoma City to arrange for the building of an Orpheum theatre there, but that isn’t the cause of Mr. Beck’s breaking into French regarding the stage hands.

When confronted by an interviewer, Mr. Beck, with David H. Hunt of Chicago, a theatrical producer, and Frank W. Vincent of the New York booking offices were standing in front of the Orpheum theater. Mr. Beck was doing a juggling act with three solver dollars and Mr. Vincent was picking the currency out of the gutter, for Mr. Beck didn’t have the act down pat.

“I have just inspected the invention of Seth Bailey, stage manager of the Orpheum in Denver,” said Mr. Beck. “He has devised an electrical appliance which makes it possible for one man to handle sixty-five drops. It operates everything from the stage curtain to the back, gives absolute fire protection and does the work of an average of twenty stage hands. One man can operate it. It looks good to me, and if further tests prove it as successful as the indications are here we will install in all the Orpheum Theatres.

“The apparatus for handling drops, consisting of ropes and counterweights, has been the same for 200 years,” said A. C. Carson, manager of the Denver Orpheum house. “Mr. Bailey has perfected, the first invention, bringing the stage mechanism up to date. It has been a field neglected by inventors.”

“It is currently reported that you are now the kingpin in vaudeville controlling the entire situation,” was a suggestion o Mr. Beck.

The general manager of the Orpheum circuit gravely pocketed the dollars which were props in his juggling act. “That’s what they say?” he said, “but I am a modest man.”

“This is your first adventure into the southwest in the way of building theaters?” Mr. Beck was asked.

“Yes, but it will not be the last,” he replied. “We have no theatres in Pueblo or Colorado Springs.” “Are you going to build in either of those towns?”

“That would be telling,” smiled Mr. Beck, giving his interviewer a friendly tap with the ornate head of his ebony cane.”

 

A year later in 1912, newspapers reported, “Theatrical men and others in Denver have organized a $500,000 corporation to manufacture a mechanical device, which, it claimed, will reduce the number of stage hands needed in a theatre by three-fourths, at least. The new corporation is called the Bailey Fly Rail Machine Company. It is incorporated under the laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the inventor of the device. He worked on it several years before he announced that it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W. Considine and other vaudeville managers, met in Denver and saw a demonstration of the apparatus. They appeared to be highly pleased with it. The names of A. C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft appear at the prime movers in the matter of incorporation. Mr. Bancroft is an attorney. The device is operated by electricity (Wiles-Barre Times Leader, 18 Feb 1911, page 11). Other than patents, the stage carpenter and company never appear to depart from print. Here is information about the patents that were registered by Bailey at a little later.

Bailey obtained patent 1.027.027 Mechanism for Handling Hanging Scenery in Theater. Seth G. Bailey, Denver, Colo., assignor of one-forth to Martin Beck, New York, New York, and one fourth to Andrew C. Carson, Denver, Colo., Filed Nov. 28, 1910, Serial No. 594.466.

A second patent by Bailey was filed on Dec. 2, 1911. In the Official Gazette o the United States Patent Office, Vol. 200, published on Dec. 31, 1914, we find the following:

“Seth G. Bailey, assignor to The Bailey Theater Fly-Rail Machine Company, Denver, Colo. Scenery handling apparatus. No. 1,091,109; March 24; Gaz. Vol. 200, p. 958.”

 

 

To be continued…

Part 633a: Why Fire on Stage is Always a Bad Idea

This ties in with the continued storyline of Bestor G. Brown.

I am in nearing the end of writing an article about Bestor G. Brown, traveling salesman for E. A. Armstrong Manufacturing Company (1894-1903) and later western sales manager for M. C. Lilley & Co. (1903-1917). Brown is fascinating on many fronts, one being his connection to the development and sale of Brown’s special system – the standard counterweight rigging system delivered by Sosman & Landis consistently to Scottish Rite theaters during the early twentieth century. He was THE mover and shaker for everything required for degree productions at Scottish Rite theaters in the Southern Jurisdiction beginning in 1896.

Brown belonged to MANY fraternal orders from 1884 until his passing in 1917. He was a member of the Independent Order of Odd Fellows, Benevolent and Protected Order of Elks, Freemasonry and Knights of Pythias.

As a Knights of Pythias member, he performed in the title role of Pythias for the Knights of Pythias public production, “Damon & Pythias” during 1891. The fundraiser was held at an opera house in Topeka, Kansas, during 1891 where Brown resided with his young daughter. So popular was the amateur production of “Damon & Pythias,” that it repeated for the benefit of the fireman of Topeka. It opened at the Grand on November 20, 1891.

There was pre-show play before “Damon and Pythias,” titled “The Fireman’s Child.” The first in a series of short scenes depicted a house fire and a small child being rescued by a fireman from a window. The scenes used live flame.

On November 22, 1891, the “Topeka State Journal” reported a small fire that broke out during the “The Fireman’s Child.” Here is the article in it’s entirety:

“IT WAS TOO FIERY. The Red Fire at the Grand Goes off All at Once.

An exciting accident occurred at the Grand opera house last night during the realistic fire scene which came dangerously nearing making the scene too realistic, by far. On the interior of the set representing the burning house were six men who were manipulating the flames, the crashing glass, the crackling of the flames,” and other features of the fire. They had only about eight feet square to work in. Mr. T. D. Humphrey was in charge of the red fire and got it well started. The flames were rolling out of the windows famously, when all at once two pounds of the treacherous powder, standing near in boxes, from which the covers had been carelessly removed, caught tire. With a puff and a roar, the flames soared up into the flies, and the scene on the interior of the house instantly became an exciting one. The glass smasher dropped his box, and the “flame crackler” fled. The fire leaped up against a parlor set standing near and it instantly burst into flumes. Manager Alton, who was on the stage, rushed to the hose lying near, ready for just such an emergency, turned on the water and in a minute had a , stream on the blazing scenery, which Speedily extinguished the fire. In the excitement the hose was accidentally turned on Mr. Bestor G. Brown, who was drenched, and all the grease paint was washed off of Mr. Humphrey, who had made up preparatory to going on in the play. Several Grecian soldiers loafing around were also soused. For a few moments there were a frightened lot of people on the stage, but when it was all over, they had a good laugh. Mr. Humphrey’s hands and arms were severely scorched. The audience, fortunately was not aware of the accident.”

 

Part 637: John H. Bairstow (1844-1923)

John Bairstow worked as the full-time stage carpenter at the Chicago auditorium from the time that it opened in 1889 until 1905.

John H. Bairstow was born in Halifax, West Yorkshire, England, during 1844. His father was Fred Bairstow, and the Bairstows manufactured machines. They still are a family of inventors if you follow the Bairstow descendants. It is funny how some family lines will gravitate toward certain professions. Halifax’s main industry was manufacture of woolen’s, beginning in the 15^th century. By the 19^th century, much of the region’s wealth derived from a combination of cotton, wool and carpet industries, not unlike many other Yorkshire towns. There were a large number of weaving mills necessitating the manufacture and repair of loom as well as other mechanisms necessitated by the trade. Bairsstow came from a family of machinery manufacturers in Ovenden. An 1864 entry in the “London Gazette” mentioned the dissolution of Bairstow Brothers and Co. It was after this event and the end of the Civil War in the United States that John Bairstow immigrated to the United States. I have yet to locate the exact year.The entry is as follows:

“NOTICE is hereby given, that the Partnership heretofore subsisting between the undersigned, Thomas Bairstow, John Bairstow, Henry Peel, and Thomas Hudson Oldfield, in the trade or business of Machine Makers, carried on at Forest Mill, in Ovenden, in the parish of Halifax, and county of York, under the style or firm of Bairstow, Brothers, and Co., was this day dissolved by mutual consent, as to the said John Bairstow, and in future the business will be carried on by the said Thomas Bairstow, Henry Peel, and Thomas Hudson Oldfield on their separate account, who will pay and receive all debts owing- from and to the said partnership, in the regular course of business.—Witness our hands this 17th day of September, 1864.Thomas Bairstow. Henry Peel, John Bairstow. Thomas Hudson Oldfield.” This not the same John Bairstow, but a relative who stayed in the region.

At the age of twenty, Bairstow married Mally Scott. She would also go by the name of Molly. The couple married and immigrated to the United States and raised seven children – six sons and one daughter. The Bairstow children included Arthur, William H. John, Frank, Robert and James (who predeceased him). In Chicago John Bairstow worked as a stage mechanic for various venues, including McVickers theater and the Grand Opera. He accepted the position as stage mechanic for the Auditorium in 1888 at the age of 44 years old. Bairstow lived until the age of 78, four months and 27 days, passing away in February 1923. Like many of his theatre colleagues, he is buried at Rosehill Cemetery, Notices of Bairstow’s death were also sent to Halifax newsletters.

Little is known of Bairstow’s career from his arrival in Chicago until 1882. The “Chicago Tribune” lists his name in an advertisement for McVicker’s Theatre on Jul 29, 1882, page 7. It is an ad for the commencement of the Twenty-sixth season of McVickers. The theater reopened after completing a three-month renovation with improvements. Upon reopening, articles reported that the improvements “render it the Model Theatre of the World.” The ad continued, “In point of safety, there being now twenty-three separate exits from the auditorium.” The premiere production was “Taken From Life” “By Henry Pettitt, Esq., and is the sole proprietor of Mr. Sam’l Colville; has scenic illustrateds by Mssrs L. Malmsha and J. H. Rodgers: Mechanical Effects by John Bairstow and Frank E. Langridge; New Music by Karl Meyer; Stage Direction by Mr. AlexFitz Gerlad, who has been greatly aided through the kindness of J. D. Beveridge, whose familiarity with thebusiness of the drama has extended inro two hundred representations at the Aldelphi Theatre, London.”

John Bairstow is listed again in 1884 when certificates of organization were filed by the Chicago Theatrical Mechanics’ Association of Chicago, with John Barstow, John E. William, and Frank F. Goss as the organizers and first directors (“Chicago Tribune” on May 6, 1884, page 3). A month later, Bairstow was credited as the newly elected president of the Chicago Theatrical Mechanics Association in a short Chicago Tribune” article (Chicago Tribune 23 April 1884, page 8). Sixteen charter members represented various theaters in the city. The article reported, “The society will be benevolent and protective, and the membership will be strictly confined to the skilled working employees of theatres – stage-carpenters, scene-shifters, property-men, gas-men, etc. – of whom there are a large number in the city.” The other elected officers included Jay Tripp (vice-president), Frank F. Goss (recording secretary), Alfred W. Palmer (financial secretary), and John Faust (treasurer). By 1891 McVicker’s Theatre as their stage carpenter.

By 1891, the Theatrical Mechanics Association convention was held in Chicago from July 26-28. An article in the “Chicago Tribune” reported, “This association is composed of men working on the stages of the theaters throughout the United States and Canada. There are twenty-eight lodges in this country. Each will send delegates. The committee having charge of the entertainment of the delegates is James L. Quigley, John Bairstow, Willaim Edgerty, John Dutton, Frank Gammon, and C. F. Faber” (7 July 1891, page 3). Bai

Throughout the 1880s, Bairstow also worked as a stage carpenter at the Grand Opera and McVicker’s. An article published in the “Chicago Tribune” on May 13, 1888, included a portrait of Bairstow in an article. He was pictured in the section that discussed the Theatrical Mechanics Association. The article reported, “Chicago has also a Theatrical Mechanics’ Association, which takes in all the hands about a theatre except the actors and managers. Many persons are employed in the purely mechanical department of the theatre. At McVicker’s 120 persons were behind the curtain when Irving played, their duty being to look after scenery, lights, traps, ‘drops,’ properties, etc. It required sixty to look after ‘A Run of Luck,’ and forty is the average number of men employed. Mr. John Bairstow, master carpenter at McVicker’s, has been the head of the Theatrical Mechanics’ Association since it was started, but recently has been pushed out by radical members, who wish to make the society a labor instead of a mutual aid association. The men work only a couple hours a night, and they want $9 a week instead of $6. This exorbitant demand is likely to be firmly resisted by the capitalist managers. The theatrical mechanics will likely find that they have destroyed a worthy charity in forming a worthless labor machine” (page 25).

Sadly, the digitized image at newspapers.com is less than ideal, but better than nothing!

By 1885, his son William H. followedin his father’s footsteps and was listed at the stage carpenter at Chicago’s Schiller Theatre (Julius Cahn’s Official Theatrical Guide for 1885-1886). While his son was working for the Schillaer, Bairstow rose to the top of his profession in Chicago and was appointed the future stage manager for the Chicago Auditorium, necessiatating him to travel. In 1888, Bairstow toured Europe with architect Dankmar Adler to see stage machinery at opera houses in Europe. Note: Adler also designed McVicker’s Theatre. Bairstow returned from his European tour during November and took his position as the venue neared completion.

Bairstow continued to work full-time at the Chicago Auditorium until 1905, when his son, William, took his position as stage carpenter at the venue. However, Bairstow only partially retired from the Auditorium that year at the age of 61. John Bairstow continued to come back to the Auditorium and supervise the raising of the auditorium floor for various events. In 1909, the “Chicago Tribune” reported, William H. Bairstow, master carpenter at the Auditorium theater, succeeded his father in that position, and has been at work for a dozen years. His father now receives a pension as a reward for excellent services in the well known theater.

I’ll leave you with an entertaining tale from an article “Ready for the Fair” when the Chicago Auditorium was being transformed for a Hebrew Charity Bazaar, “John Bairstow, the Auditorium stage manager, looked wild-eyed and frantic. Wherever he went a crowd of women followed him, asking about this and that, and wanting everything done at once. He dodged around to avoid them as though he were playing a game of tag, and finally went back on stage and climbed into the rigging loft.”

To be continued…

Part 636: John Bairstow and the Chicago Auditorium

I have repeatedly mentioned the Chicago Auditorium in the past few posts. Here is a lengthy article about the theater that may help clarify its international significance. Tomorrow I will focus on the Chicago Auditorium’s stage carpenter, John H. Bairstow.

 

On 7 December 1899, the “Chicago Tribune” published the article “The Auditorium Stage. A Revolution in Scenic Apparatus and General Equipment” (page 12). It is packed of absolutely wonderful details about the stage machinery and scenery. This is the theater that every single college student should encounter in theater history class. Unfortunately, this space was never discussed in any of my theater history throughout my BA, MA and PhD studies. Here is the 1899 article in its entirety:

THE AUDITORIUM STAGE.

A Revolution in Scenic Apparatus and General Equipment.

Twenty Hydraulic Rams by Which the Floor Can Be Raised of Lowered-Innovations Art All Old Idea-As Absolutely Fire-Proof as Anything Can Be Made-The Electrician’s Room a Study-Eleven Miles of Steel Wire Cloth-An Iron Curtain That Weighs 9,000 Pounds.

There are twenty hydraulic rams by which the entire floor of the Auditorium can be raised or lowered at will. There are fifteen traps, large and small, some extending over the entire width of the stage, which can be raised to represent elevations of be dropped to allow spirits to disappear. A goblin or fiend may shoot up as quick as lightning, or a ghost rise slowly into view. No need any longer to depend on the effects of an imperfect perspective and the occasional rock to represent the valley in which old Rip Van Winkle appears. A real valley can be produced on the stage by some ne on the stage floor touching a few brass handles and knobs, when the traps will rise or drop and give the desired elevations and depression. No need of any makeshifts to produce the impression of a ship at sea. H.M.S. Pinafore can appear rocked by waves, life size almost, and make the huge hydraulic rams oscillate to produce this motion it will take only the moving of some more brass handles on the stage floor.

What produces the remarkable stage effect in the background? It is no longer a level canvas on which perspective compels the painter to have a view toward the horizon narrowed. On the contrary, true to nature, the view expands as you look farther towards the horizon. The horizon consists of a semi-circular piece covering the background and running forward on the sides halfway to the curtain. The effect produced is as in a panorama. The painted part gradually approaches, and merges into, the adjacent parts of the real ground and objects. This horizon works a wonderful change in the appearance of the stage. It is movable. It runs on a track and is rolled around a perpendicular cylinder at the other end. It contains four kinds of weather so that be setting the rollers in motion a perfect effect of a change from fair weather to a dark, threatening sky, and finally the heavy clouds of a storm, can be produced. Transparent clouds will permit the effects of light, be it sun, or moon, or lightning, to be made from behind this horizon. The horizon looks pretty and airy, but weighs 5,800 pounds, including the counterweights.

AS COMPARED WITH OTHER STAGES

The trap arrangements, the movability of the entire stage, and the horizon are probably the most remarkable improvements that distinguish the Auditorium from all other stages, not only in this country but in Europe. It is to be the most completely equipped stage in the world, and will be in every respect, except size, the most perfect. There are only three other stages containing all the improvement that the Auditorium will have – namely: at Budapest, Prague, and the old German University Halle. Most of these innovations are the patents of the Asphaleia company of Vienna, or the firm of Kautsky & Sons, one of whom, Fritz Kautsky, has been here for a month superintending the construction. This system was selected by Architect Adler and Mr. John Bairstow after a careful examination of the systems of the principal European stages, and it is safe to say that the introduction of it by the Auditorium will cause a revolution in the scenic apparatus and general equipment of American theaters.

If there ever will be an absolutely fire-proof stage this one is probably the ideal. Everything is of iron and steel. There are no wings, the horizon makes them superfluous. There are no grooved running crosswise, suspended from the flies; the horizon dispenses with them. Side pieces of which there are an immense number, thirty-five to forty feet high are let down on stout wire ropes and pulled up again with ease. Everything, including the large cylinders and pistons for lifting the stage is moved by hydraulic power, the water being stored in huge tanks above the fifteenth story. The properties are stored away from the busy stage in large, convenient storerooms, There is no other than electric light. Rows of 990 colored globes run along the flies across the stage, forming the border lights, and by a touch of a little handle the most startling effects of light can be produced. The clumsy old calcium light process is at last completely wiped out. The electrician’s room is a study in itself. As it will require a most expert engineer and one of the highest ability to mange the apparently inextricable network of pipes, rods, rams, cylinders, pistons, and cables, so the electrician must be of the highest order obtainable in order to find his way through the wilderness of handles, knobs, and buttons in the little room on the stage floor behind the reducing curtain. He has to control 5,000 lights on the stage and in the house. In the like manner the engineer has to control eleven miles of steel wire cable and any number of rams, beside the iron curtain which weighs 9,000 pounds. But everything is so perfectly balanced by counterweights, and the hydraulic motors so admirably arranged, that a mere touch of the hand is sufficient to set in motion many thousands of pounds.

NO FLIES ON THIS STAGE

During the performance nobody will have to be in the flies. In fact there are no flies on the Auditorium stage. The side pieces – Mr. Kautsky calls them “walls” to avoid the term “wings” – are held up by steel ropes and propped up from behind. Almost 100 feet above the stage floor these “walls” are suspended ready for use. The artistic finish of all these pieces makes them worth looking at on their own account. Ordinary stage decorations are coarse when looked at closely, but in this case each piece is a picture in itself, so perfect that one might hang it in a parlor alongside a good oil painting.

About eight feet below the stage floor is another floor, which is in every particular an exact duplicate of the one above, each trap is raised on the stage floor to be used as an elevation of some sort, its place can be filled by the trap from the lower floor, s as to close up the stage floor. Beneath this lower floor is the basement, containing the hydraulic machinery, with a total pressure of six atmospheres. All scenery is operated from the stage floor.

Along the sides strong iron stairways lead to the top. An iron bridge extends across the proscenium just above the curtain, and along the background is the painter’s frame with two platforms, all suspended in steel wire cables. Near the top in the property room there is a force of artists at work now preparing the properties. Fawcett Robinson and his brother who used to be Henry Irving’s property artist are constructing the articles of papier-maché in such close resemblance of the genuine articles that at a distance of five feet one would take the tables and bookcases to be made of antique oak, and his copy of Thorwoldsen’s Venus looks at a distance of about ten feet like a perfect plaster cast. Mr. Robinson is an enthusiast in his work and his room alone is worth more than one visit to the Auditorium stage.

Not only is the apparatus for producing artistic effect so complete and varied that it will create an almost perfect illusion, but the convenience of the actors. Musicians, and workmen has been consulted to a hitherto unheard-of degree. The Diva need no longer receive callers on the stage.

MILWARD ADAMS’ NEAT IDEA.

A beautiful little reception-room has been provided-Milward Adams’ idea. The dressing rooms are comparatively large and commodious and provided with all conveniences. They are thirty in number, comparable of accommodating 300 people without crowding. The largest and best are on the stage floor, the others open off the landings along the iron stairways at the sides. The room where the musicians can be during the intervals of their work is as large as the orchestra pit, the prompter’s box commodious without being offensively conspicuous. A large covered court adjoins the rear of the stage for the reception of the actors and actresses in carriages or on foot. The stage manager has a convenient little room adjoining that of the electrician.

A magnificent plush curtain is covered by an iron curtain with a coat of plaster. The side borders are simply but tastefully decorated and display in letters of gold the names of a number of leading composers, classical and modern. The list comprises the names of Bach, Beethoven, Berlioz, Haydn, Schumann, Rossini, Mozart, Verdi, Gounod, and Glück.

FIGURES OF THE SCENIC APPARATUS

A few figures may assist in forming an estimate of the larger proportions and perfect construction of these scenic apparatus. The iron curtain weighs 9,000 pounds, exclusive of counter-weights; the reducing curtain, covered with plaster, weighs 23,000 pounds. The horizon is forty-eight feet high by 300 long. The contract for the iron work on the stage footed up $110,000, and the total equipment of the stage exceeds $200,000.”

[$200,000 in 1889 is equivalent in purchasing power to $7,388,771.25 in 2019. The cost of the entire building was $3,200,00.00]

The article concluded, “In the hall is to be used for other than theater purposes a level floor can easily be placed on the stage level, and the ceiling has a piece fastened by iron chains to windlasses which are hidden from view so that it can be lowered and shut the gallery out of sight.”

From the opening of the auditorium until after his partial retirement in 1905, John Bairstow would be in charge of raising the auditorium floor for special events. In 1910, the “Chicago Tribune” reported, “ John Bairstow is getting in trim for the one effort which claims his attention from year to year. Who is John Bairstow? Well, John Bairstow is the first stage carpenter, and from the beginning of the charity ball as an Auditorium function John Bairstow has laid the great dancing floor for the event. He has been doing this for twenty years and in the mind of John Bairstow no other carpenter, not even his own son William Bairstow, who has succeeded him as stage carpenter, may be entrusted with the duty. He retired from active work five years ago and this year he is far from the best of health, but already he is getting the numbered sections of the ballroom floor carefully arranged, mentally – as it will appear the night of Jan. 31 – for after every ball the floor – built originally at a cost of $10,000 – is taken up, its sections numbered carefully and stored away. This year thirty-seven boxes will be erected to add to the forty-five permanent stalls. The new boxes will be arranged four on either side beneath the organ grills, eight on each side of the stage proper, five around the rear wall of the stage, and eight at the west end of the ballroom. To get the theater in readiness a force of seventy-five carpenters and assistants will work two days and nights to complete the work” (22 Dec 1910, page 8).

I will continue with the life of stage carpenter John Bairstow tomorrow.

To be continued…