The book that I have been working on since 2014 is finally ready for preorder! It is to be released May 1, 2018.
Santa Fe’s Scottish Rite Temple, built in 1912, is a historic landmark and the home of the Ancient and Accepted Scottish Rite of Freemasonry in New Mexico. The building–including its jewel box theater with original scenery collection–and its artifacts, represent a time capsule of Masonic culture and theatrical history. Essays examine the emergence of Freemasonry, key Masonic figures during New Mexico’s territorial period through statehood, and the architectural significance of the iconic pink building and Freemasons’ use of it to the present. Illustrated with contemporary and historical images, the book reveals the theatrical production of Masonic degrees and the production of the magnificent scenic backdrops. Today, many of the country’s Masonic buildings are being repurposed and their collections are being liquidated. Through the heroic efforts of its members, the Santa Fe Scottish Rite Temple has been preserved, remaining under the continued stewardship of the Freemasons, who share their building with the community.
The photographs by Jo Whaley of the Masonic scenery and building are absolutely breathtaking. During November 2016, Jo and I staged all of the degree productions with the 1912 scenery. The painted drops were produced by Sosman & Landis Studio of Chicago, under the direction of Thomas G. Moses. Jo’s photographs provide a colorful glimpse into what Scottish Rite members would have experienced during the early twentieth century.
In Spokane Falls, Thomas G. Moses, Howard Tuttle and Ed Loitz likely painted for the newly constructed Auditorium Theatre. Construction of the building began in 1889, just prior to the great fire that left the downtown area in ruins. It was left relatively unscathed. The theatre was designed by Herman Preusse, a German immigrant who had settled in Spokane just the year before. Preusse’s extensive work incorporated a number of styles from medieval to Romanesque and Renaissance Revival.
Spokane’s Auditorium Theatre that opened in September of 1890.
John Browne and Anthony Cannon funded the construction of the seven-story red brick building with seating for 1,750 people. The Theatre boasted an impressive exterior, oversized stage, three balconies and deluxe loge seating. Located on the ground floor of the building, the theatre’s proscenium opening was 34 ft. wide by 33 ft. high. The depth from the footlights to the back wall was 40 ft., with the distance between the footlights and front curtain at 3 ft. The stage to rigging loft was 68 ft. and there were four grooves. The height from grooves to the stage was 20 ft., but they could be taken up if necessary. The depth under the stage was 11 ft. with three traps (located prompt, center and off prompt). There were also two bridge and a scene room. Electric lights illuminated the auditorium and stage. (Information taken from Julius Cahn’s Theatrical Guide, 1897).
Businessmen Browne and Cannon initially arrived in Spokane during 1878. They were looking for possible investment opportunities. The two opened banks and developed land. They focused on the creation of new offices for the various businesses that continued to appear in the small town. Browne and Cannon quickly became two of the area’s first millionaires. Then they set their sites on an impressive performance venue that would surpass all other theatres in the country. Prior to their theater’s construction, Browne and Cannon visited Chicago’s auditorium and instructed their builders to go “one foot wider and one foot higher” (http://spokanehistorical.org/items/show/625).
From 1890 until 1914, Spokane’s Auditorium was the largest theatre in America until the Hippodrome was built in New York. I was surprised that with this title, there is nothing available online or in newspapers that depicts the theater’s interior, stage or auditorium. There are only a few exterior pictures too. This was perplexing as I am often able to locate interior images of small venues in unknown town. Here was a large venue that rivaled Chicago’s Auditorium and the interior remains unknown. I wonder if there are any remaining plans that Rick Boychuk could examine as he is now extremely familiar Chicago’s Auditorium and its innovative rigging system.
An article by Tara Justine, “The World’s Largest Stage,” examines the planning and construction of this massive endeavor in Spokane. Justine wrote, “No expense was spared in the construction. Granite was taken from the base of Mt. Spokane to complete the foundation. Inside, were 17 dressing rooms and a “box office vestibule (lit) by stained glass windows.” Atop the building stood a large gold-plated statue of Thalia, Goddess of Music.
The Salt Lake Tribune published that the Carleton Opera Company staged the first production at to the Auditorium’s grand opening on Tuesday, September 16 (September 21, 1890 (page 6). Moses, Tuttle and Loitz had worked in Spokane Falls until April 16, 1890
Justine wrote, “The Auditorium drew acts from all over the world. Sarah Bernhardt, Alma Gluck, Anna Held and Al Jolson, performed on the stage. Jolson appeared in 1917 while a young Bing Crosby watched from his seat” (http://www.spokesman.com/stories/2012/may/14/then-and-now-auditorium/#/0). In fact, Bing had landed a part-time job in the props department at Spokane’s Auditorium Theatre in his early teens. An article from Oct. 16, 1977, in the “Democrat and Chronicle (Rochester, NY, page 3) published that Spokane’s Auditorium Theatre was “a grease paint Mecca on the great American vaudeville circuit which brought to town such giants of the day as Gallagher and Shean, Eddie Cantor and Al Jolson, as well as traveling shows from Broadway such as George White’s Scandals.” Sadly, the theater was demolished in 1934.
When Moses left Portland to secure the contract for the Auditorium, he would have had a leg up on the competition. He was from Chicago and working for the largest scenic studio in the city. A studio with ties to Chicago’s Auditorium. Moses’ nationwide reputation and following would have been a notable asset to the two businessmen; they were looking for the best.
After this theater job was completed, the three scenic artists disbanded once more. Tuttle and Moses went East while Loitz offered to stay in Spokane and finish one more painting project for the theatre. Loitz agreed to paint the asbestos curtain that had not been part of the original contract. Moses noted that Loitz was happy to take on the additional work.
Almost done with posting figures from this book. I just love capitals! They are a great opportunity to study light and shadow with a little brown paper, charcoal and chalk. Only one more post to go from this book!
There is something wonderful when you pick up a well-used book. I always feel a direct connection to the past, thinking of who also turned the pages and read the text. I guess that is why I am so passionate about preserving physical libraries. For me, reading a text or looking at artwork from a computer screen creates a “disconnect” for my from the past. I would much rather see and hold the artifact in person. And with this personal context for my post…
A few years back, another surprise package arrived from my friend in Chicago. It was another reference book from Andrew Geis’ estate, previously owned by Jim Maronek of Chicago: “Die Baustyle.” This educational book presented Greek and Roman building characteristics.
Having never encountered this book before and being extremely limited with my knowledge of the German language, I did a little digging. If you are looking for this publication online, the closest version that I encountered is “Die Baustyle und die Säulen-Ordnungen. Griechischer und römischer.”
Geis’ copy was written by Dr. Leo Bergmann, edited by Carl Busch, and is a second edition copy from 1864 (published in Leipzig by Otto Spamer). Originally published in 1854, this eight volume set contained 162 illustrations. There are some beautiful illustrations and I will share a few today. This book is currently in my possession, so should note “Private collection of Wendy Waszut-Barrett” if you decide to share my images.
Here are two more images depicting information from purple stamps. It looks like the book was once sold from a book shop in Vienna (Wien). To date, I have not successfully tracked down the names stamped on the book below. Any help would be appreciate from those in the European or Scandinavian countries if this is a familiar name to you!
