This is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona this month. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. From 1968 to 2021 it was rolled and stored above the ceiling in a stage-left properties room.
Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.Painted detail. Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.Painted detail. Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.Painted detail. Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.Painted detail. Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.Painted detail. Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.Painted detail. Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.Fabric detail. Backdrop by Toomey & Volland Scenic Studio for the Richmond Scottish Rite.
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, IllinoisThe 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
Brochure of the Egyptian Theatre in DeKalb, IllinoisThe front of the Egyptian Theatre
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 towerAlley 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.
Interior of the Egyptian TheatreView 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 TheatreThe fire curtain at teh Egyptian TheatreThe 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.
In 1902, Thomas G. Moses listed the some of the shows that he worked on during 1902. He listed “Egyptia” – as “a big spectacle.” Of all the shows that Moses listed in 1902, this one stumped me. I found a small reference to a collection of operas online, titled “Egyptia.” That year, there was also a patent for a new paint called “Egyptia.” The Dayton, Ohio Roofing Co. filed to use the label for roof-paints or paints for metal and composite roofing (The Official Gazette of the United States Patent Office, 38.133, Washington, D.C., 15 April 1902, page 210). The patent wasn’t issued due to a prior use of the name since 1897. Although interesting tidbits, nothing seemed to fit Moses’ description for a spectacle called “Egyptia.” Then I discovered a newspaper article that featured the star of an Italian acrobatic troupe – “Egyptia.” This possibly was the spectacle that Moses was referring to in hos memoirs.
I have noticed that much scenery for American spectacles during the late nineteenth century was produced for productions that featured acrobatic acts. One example is the extensive scenery produced by the Hanlon Brothers to accompany their shows; lovely backdrops, mechanical stage effects and transition scenes were all part of the act. In fact, the Hanlon Brothers hired William Knox Brown as one of their stage mechanics to develop scenic effects in their Massachusetts studio (see past installment #155). Brown later became one of the three founders for the Twin City Scenic Co. in Minneapolis Minnesota (1894-1979).
“Egyptia Picchiani” may, or may not, be the Egyptia spectacle that Moses produced scenery for in 1902. Regardless, it is a fascinating read that I am going to share.
A picture of Egyptia Picchiani, from the “St. Louis Post-Dispatch,” July 3, 1902
Here is the article from “The St. Louis Post-Dispatch (3 July 1902, page 2):
“Seven girl gymnasts from the sunny shores of Italy are one of the big attractions at Forest Park Highlands this week. Women gymnasts are rare, and rarest of all are they when they do their feats in parlor clothes.
The seven Picchiana Sisters come on the stage in swell satin dresses, cut low and short sleeves. The skirts of their costumes have ruffles and frills. Their hair is coiffured as if they were going to a ball, and adorned with side combs, satin and velvet bows, and even flowers. Nothing gets out of place in all the somersaulting, hand-springing and tumbling they do.
The Picchianis were born in Florence. Their father was a noted acrobat, who has just celebrated his fiftieth stage anniversary. He is still in the business, although not as nimble as formerly. He taught all his children to become acrobats and began their education, when 2 years old. The troupe now at the Highlands began to show for the first time on any stage at Alexandria, Egypt, in 1890. Eight years before that date Egyptia Pichiani was born in the Nile country, hence her name. Signor Picchiani, brother of the seven sisters, who is with them on the stage, says that at first they did their act in tights.
‘Then we switched to dresses,’ said he the other night, as he mopped the perspiration from his face after a particularly difficult feat. ‘It took four years of hard practicing before we were able to do in skirts what we had done all our lives in tights. Since then we have played in every large theatre in the world.
‘My sister, Egyptia, who does some of the most daring things of all the girls is now 19 years old. Like myself, she went on stage when she was 2 years old. She does some very difficult things, but the feat which is original with us is the cross-pver somersault. Egyptia is on my shoulders, Louise on the shoulder of our eldest sister. They pass each other from shoulder to shoulder, making a double somersault. No other company does that. We were a year practicing before we attempted it for the first time in public. It requires some wonderful close gauging, and no one has ever imitated it as it is too risky.’
The Picchiani practice every morning on the stage of Forest Park Highlands just as hard, as if they were novices in the business. Last Sunday night Louise Picchiani missed in the difficult shoulder to shoulder turn.
The second time she accomplished it without a hitch. But there was a great row afterwards back of the stage, because of that one failure.”
Souvenir program for “A Street in Cairo” attraction at the Midway Plaisance of the 1893 Columbian Exposition. Thomas G. Moses painted scenery for this World Fair attraction.
Thomas G. Moses painted scenery for “A Street of Cairo” at the 1893 Columbian Exposition. It was directly across from the Moorish Palace and Turkish Village. The attraction included 26 buildings that presented an idealized view of Egypt and was never intended as an exact replica of any particular street. World Fair guidebooks note that some of the structures were stylistic imitations of well-known monuments, but that is where historical accuracy ended. Dozens of stands sold “authentic” Egyptian items to passersby as they wandered through the fair. Everything on display was placed to turn a profit, unlike the official fair exhibits from foreign countries.
Bird’s eye view of the Midway Plaisance at the Columbian Exposition in 1893. Note the onion dome of the Moorish Palace on the right. ” A Street in Cairo” is partially depicted on the left.
Historical records suggest that Egypt was not in any financial position to participate as an official exhibit at the Columbian Exposition. However, many from the country recognized the potential for positive propaganda and tourism if the country was included in the fair. Privately funded, “A Street in Cairo” was managed by Georges Pangalo. Pangalo was born in Smyna, Turkey, to a Greek father and English mother. Over the years, he worked in various fields, from railroad service and journalism to banking and financial management.
George Pangalo, producer of “A Street in Cairo” for the 1893 Midway Plaisance.
For the Columbian Exposition, Pangalo worked with Max Herz, the chief architect to the Comité de Conservation des Monuments de l’Art Arabe. This was the official state agency responsible for the preservation of Arab-Islamic monuments in Egypt. The intention was for Herz’s official position to give credibility to Pangalo’s endeavor.
Traveling to Cairo, Herz employed the Austrian architect Eduard Matasek to assist him in the preparation of the necessary plans for the attraction. Most components for the buildings were produced in Cairo and shipped to America. The buildings were then assembled on site under the supervision of a Chicago architect. Herz later arrived to supervise the final stages of the construction.
Photograph of “A Street in Cairo” at the Columbian Exposition.
Photograph of “A Street in Cairo” at the Columbian Exposition.
In addition to the architectural accuracy, costumed participants, camels, and donkeys provided an air of authenticity. The Chicago attraction was modeled after the 1889 Paris Exposition’s “Rue de Caire.” In Chicago, performance venues complimented the street vendors and foreign structures. The Turkish Theatre, the Algerian Theatre and the Persian Theatre all advertised stage shows, complete with scenery depicting the appropriate locales. Many of the stage scenery was painted by Chicago artists, such as Moses. In these theaters, popular dancers such a “Little Egypt” (Fahreda Mahzar) performed their routines. A variety of musical entertainments from the Ottoman Empire were on display for the inquisitive public.
Wedding procession staged at the Midway Plaisance in the “Street of Cairo” attraction during 1893.
Other performances that appeared outside of the theatre and on the street were staged processionals or small vignettes. One example was Achmet, the celebrated “donkey boy of Cairo.” This young man arrived in Chicago on April 13, 1893 and began work the next day. He wandered through the fairgrounds with his donkey named “Yankee Doodle.” All summer, little children rode up and down the “Street in Cairo,” from café to the “Temple of Luksor” (Luxor) and back for a fee.
Some of the donkey boys at “A Street in Cairo” Midway Plaisance attraction in 1893.
These shows and street scenes transported visitors to a foreign land in settings that specifically catered to the American public. The types of entertainment produced for the Midway Plaisance were a mixture from many cultural traditions. For the fair, Pangalo imported a diverse array of individuals and groups from different locations throughout the Ottoman Empire. Not all of the performers returned to their native lands after the fair, however, some remained in the area and established new homes. America became an even larger melting pot.
Illustration by Charles Graham depicting costumed participants at the Midway Plaisance during the 1893 Columbian Exposition. Graham worked as an illustrator and scenic artist for the theatre.
Illustration by Charles Graham depicting a scene from the Midway Plaisance during the 1893 Columbian Exposition. Graham worked as an illustrator and scenic artist for the theatre.
Illustration by Charles Graham depicting a scene from the Midway Plaisance during the 1893 Columbian Exposition. Graham worked as an illustrator and scenic artist for the theatre.
The nineteenth-century fascination with the exotic permeated many other areas of society beyond the commercial theatre. Masonic halls, Scottish Rite stages, Shrine auditoriums and other fraternal spaces enthusiastically incorporated elements from the East into their buildings and ceremonials. The Columbian Exposition did not usher in this movement, but it certainly promoted what was possible and visually appealing. The theatrical manufacturers and suppliers that decorated the fairgrounds were well versed in this exotic aesthetic.
In addition to midway amusements, Moorish revival style buildings appeared across the country in other public spaces. Scenes from the Orient dominated periodical illustrations, stereoscopic cards, themed rooms and other popular amusements. Horseshoe arches, window tracery, onion domes, minarets, decorative brickwork and stucco exteriors rapidly appeared in many metropolitan cities. The architectural ornamentation and painted decorations for “A Street in Cairo” were replicated hundreds of times over for one particular performance venue – the Scottish Rite.
The manufacturers of Scottish Rite degree productions enthusiastically embraced the exotic. Palatial scenes, landscapes, and temple interiors all included visual elements from well-known illustrations of nineteenth-century artists. Traveling artists both captured and popularized the foreign monuments, people and traditions. David Roberts and John Frederick Lewis were just two examples of those who recorded archeological discoveries and the culture of the Egypt and the Middle East. Their scenes would reappear through hundreds of commercial and fraternal performance venues. In turn, Charles Graham who was once a scenic artist, created dozens of illustrations that memorialized “A Street in Cairo.”
Illustration by Charles Graham depicting a scene from the Midway Plaisance during the 1893 Columbian Exposition. Graham worked as an illustrator and scenic artist for the theatre.
The Columbian Exposition in 1893 introduced many new concepts and products. From a culinary standpoint, new products included Cracker Jack, Juicy Fruit gum, Quaker Oats, Cream of Wheat, shredded Wheat, and Milton Hershey’s version of chocolate. But there was another product featured at the fair, and it was not contained to any one building – electricity. Not only was there an official building dedicated to electricity, but it dominated the White City. The mammoth white buildings gleamed and glistened with electric lights under evening skies.
A view of the Columbian Exposition in Chicago at night during 1893.
The Columbian Exposition at night with the Midway Plaisance and iconic Ferris Wheel in the distance.
There was battle across the country for who would light this land and the interior of every business. One of the first major battles for light occurred during the Columbia Exposition. Thomas Edison and George Westinghouse both put in bids to light the fair. Westinghouse, armed with Tesla’s new induction motor submitted an extremely low bid and eventually won the contract. Originally, Tesla planned on using GE bulbs, but Edison who was still irked would not sell to Tesla and Westinghouse. In the end, Westinghouse came up with an even more efficient double-stopper light bulb. Tesla’s 12 thousand-horsepower AC polyphase generators created the City of Light. Some even referred to Tesla’s machines as “Teslas’ animals.” On May 1, 1893 approximately 100,000 lamps illuminated the White City. Electricity and AC current would soon spread across the country. In the next few years, AC power would become the standard for 80% of the country.
One of the most visited exhibits at the Columbian Exposition was the Electricity Building. It was one seven buildings that enclosed the Great Court of the Entrance. The Manufacturers building and the Electricity building were on the north end, the Machinery and Agricultural building on the south end, the railway station on the west end, and the Peristyle with its pavilions on the east end. The Administration Building was in the center of the group. Each had a common height of sixty feet to the top of its cornice with a foot print of 350’ x 700.’
Proposed drawing for the Electricity Building at the Columbia Exposition in 1893.
Electricity Building for the Columbian Exposition with over 700 exhibits inside from all over the world.
The Electricity Building offered a variety of possibilities for the future of mankind with over 700 displays from all over the world, including exhibits from Germany, France, England, Canada, Italy, Belgium, Austria, Spain, Sweden, Mexico and Russia. General Electric, Fort Wayne Electric, Brush Electric, Germania Electric, La Roche Electric Co., Akron Electric Co., Eddy Electric Co., Crocker-Wheeler Electric, Hansen & Van Winkle Electric, National Electric Co., Heisler Electric Co., Detroit Electric Works, Excelsior Electric, Electric Forging Co., Jenney Electric Motor Co., C & C Motor Co., Munsen Belting Co., Hornell Iron Works, Riker Motor Co., Perkins Lamp Co., New York Insulated Wire Co., E. S. Greeley & Co., Belknap Motor Co., Arnold Motor Co., A.C. Mather, Swan Lamp Co., were just a few of the business represented in the building.
However, no one anticipated exactly how much noise would be emitted from displaying all this new technology. Bright lights came at a price in a confined space! A deafening noise from the machinery accompanied the electrical displays. It was recorded that many people left after just a few minutes when they encountered the noise from the machines.
A guidebook explained “The next most prominent exhibit in the [Electrical] building is that of the Western Electric Company, of Chicago, immediately to the east of the main south entrance. This company has three pavilions, one an Egyptian temple paneled on the outside most uniquely with Egyptian figures and groups associated with electricity. For instance, there is a group of Egyptian maidens, of the time of Ramses the Second, operating a telephone board, and another group of men of the same period laying telegraph lines. The conceit is very popular.”
The Egyptian Temple in the Electricity Building as part of the Western Electric Company exhibit. This display was created by Sosman & Landis scenic studio of Chicago.
This Egyptian Temple was created by Sosman & Landis and painted by Thomas G. Moses and his crew. Even though there was another Egyptian Temple on the fairgrounds, the Temple of Luksor that was located on the Midway Plaisance, Western Electric Company created “Hello Central.” Western Electric’s intention was to clash the past with the present – ancient hieroglyphs with the modern telephones.
The Egyptian Temple of the Midway Plaisance for the Columbian Exposition.
Another part of Western Electric’s pavilion in the Electricity Building was a painted stained glass window illuminated by incandescent lamps. As on the stage, the stained glass composition was panted with dye on a piece of fabric. When the translucent material was lit from behind, it took on a magic of its own – glowing for all to see.
Stained glass window created by Sosman & Landis for Western Electric Company’s display in the Electricity Building at the Columbian Exposition, 1893.
Western Electric contracted Sosman & Landis to design not only the Egyptian pavilion and this stained glass translucency, but also a small electric stage. They created a small stage diorama that would demonstrate the use of electric light for theatre productions. There was a switchboard with a combination of arc and incandescent lights to illuminate the small display. But this was not the only electric theatre at the Fair.
The switchboard for the electric theatre by Western Electric Co. in the Electricity Building at the Columbian Exposition. The small stage was created by Sosman & Landis. The Scenic studio’s office were across the street from Western Electric Co. on Clinton Street in Chicago.
Another gained immediate popularity on the Midway Plaisance – the Electric Scenic Theatre where “A Day in the Alps” was presented. This was also the product of Sosman & Landis Studio and painted Thomas G. Moses. That will be the topic for tomorrow.
Here is another printed image from the source book of Andrew Geis. It immediately brought to mind the desert scene for the A.A.O.N.M.S. Shrine (Ancient Arabic Order of the Noble Mystic Shrine) at the Grand Forks Masonic Center.
The following paragraph is to place this scenery in context, especially for those who are unfamiliar with the Masonic orders. If you are a mason, go directly to the pictures. The Shrine was created as a social organization intended as a place to rest after a Mason’s arduous study in either the Scottish Rite or York Rite. When a Mason entered freemasonry, he completed the first three degrees (1-Entered Apprentice, 2-Fellow Craft, and 3-Master Mason) in a Blue Lodge. Typically, Blue Lodges are in small buildings labelled “Masonic Temple” if they are not part of a larger facility. By the way, the color “blue” is not associated with the building or wall color. If anything, it suggested the celestial constellations on the lodge ceiling.
After becoming a Master Mason, he could join a variety of Masonic Orders and organizations including, but not limited to, the Ancient and Accepted Scottish Rite and/or York Rite. These were intended as avenues for additional study and philosophical exploration. After working and studying these “high degree” systems, he had the option to relax in the A.A.O.N.M.S. At the time, there was a short cut for those who wanted to immediately enter a social group – the Grotto. Referred to as the “poor man’s Shrine,” any Master Mason could join the M.O.V.P.E.R. Grotto (Mystic Order of the Veiled Prophets of the Enchanted Realm). That scenery is a topic for another time as it is fascinating in it’s own right!
A few years ago, the need to be a Scottish Rite or York Rite member prior to joining the Shrine was abandoned. This decision was made for a whole variety of reasons, none of which I will even get into today. My personal belief is that it was a mistake of grand proportions. But I digress…
Going back to the Shrine scenery, here is a source from Geis’ book and similar painted details from Grand Forks, ND. Enjoy.
Here is the full composition for the backdrop.
Here is the cut drop in front of the backdrop and with the backing piece for the tent.
Stage right label for the scene.
And finally, here is an old amateur patch for a rip! Note the Middle Easter figure!
One of the most interesting Ancient and Accepted Scottish Rite of Freemasonry stage sets that I have ever encountered is in my home town of Minneapolis, Minnesota. It is for the thirty-first degree and was designed by the Twin City Scenic Company for the Minneapolis Scottish Rite.
The Minneapolis Scottish Rite building was once church. When they transformed the space for Masonic uses, the altar became the stage. There is also use a lodge space for ceremonials that is used for certain degrees and is referred to as the Red Room (named for the color of the carpet). This beautiful space used to be the area that I converted into a paint studio whenever I had a large project and is now the home of Lodge No. 19.
Like the theatre space. there is a horseshoe balcony surrounds three sides of the auditorium. The central floor in both rooms do not have fixed seating in the center. In the Red Room there is a small recessed area for the stage. There used to be a roll drop that hung above this area, depicting the rebuilding of King Solomon’s Temple.
The Egyptian setting scenery by Twin Cities Scenic Co. for the Lodge room transforms the entire space. Flats (scenic walls) are place against the walls under the balcony. A scrim ceiling obscures the ceiling, yet members seated in the balcony areas are able to view the activities on the floor below.
The pictures below are depicted with a photographic flash so you could see some of the colors and painted details.
Here is an unidentified example from Geis’ source book depicting a detail image for Egyptian settings. The painted detail on early-twentieth century Scottish Rite drops that I am examining today is the winged disk (Horus Behdety).
This image appears at various archeological sites, including Edfu (Temple of Horus, Edfu). Without going into a long explanation of its meaning and mystical properties, this image was incorporated into ornamental decoration for Ptolemaic, Sumerian, Assyrian, and Hittite. Below are some examples from Edfu.
To accompany Geis’ printed image and photographs of corresponding archeological sources, I have included painted details form various Scottish Rite drops for the 31st AASR degree.
And when the serpents became interpreted as two birds…
Maybe this artist didn’t have an original source or design book!
The thirty-first degree for the Ancient and Accepted Scottish Rite of Freemasonry typically includes an Egyptian setting. The popularity of for the exotic on the commercial stage carried over to the fraternal stage. This will be the topic for the next few posts.
Below is an example of an Egyptian source from Geis’ design book. It is a print titled, “Scene from the New Egyptian Drama of ‘Nitocris,” at Drury-Lane Theatre – the Coronation Procession.” This production premiered at the Drury Lane Theatre in 1855 and was announced as “an original Egyptian play.” The image from Geis’ print was originally published in the Illustrated London News. The production and the creation of an historically accurate setting for both the commercial stage and the fraternal stage is worth comment.
The production of “Nitocris” was primarily intended to be amazing display of scenic illusion and effects, as well as depicting exotic locales. In “Punch” (London: January issue, October 20 1855, page 159) the author writes: “Antiquarian research has become fashionable among theatrical managers, who appear to be up to their eyes in the dust of the ages; and it will soon begin to be a question or rivalry as to which theatre lessee shall be regarded as a regular dust man of the past, and which theatre shall be looked upon as the original dust hole of antiquity.” The author further comments, “Nobody, we believe, claims literary merit for the piece itself which is merely a vehicle – a rather slow one – for the effects arising out of it.”
For me, one of the most interesting sections from the piece was the author using quotes from the theatre lessee in the following excerpt: “‘No research has been too trying’ for the patience and purse of the lessee, who has distributed his agents and money over every spot where anything was like to be found to aid the ‘reviving the associations of the Pharaonic Period.’ Everything bearing any pretensions to an Egyptian character has been ransacked, from a coffee-cup to a Colossus, and we dare say that even the Egyptian Hall, in Piccadilly – where the lessee of Drury Lane exhibited the African Twins was occupied in the hope that some Egyptian notions be got out of it.”
Geis’ image in his design book:
Here is an example from the setting originally produced for the Albert Pike Consistory of Little Rock Arkansa and currently housed in the Pasadena Scottish Rite, ca. 1920
And a few details from the backdrop…
Below I have included a variety of other early- to mid-twentieth century Scottish Rite scenes for the Thirty-first degree. The first is from Fargo, North Dakota
Winona, Minnesota
Grand Forks, North Dakota
Here is a mid-nineteenth century design sketch by Maj. Don Carlos DuBois (held in the University of Minnesota Performing Arts archives).
..and his realized scenery painted in Atlanta, Georgia.
