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 front curtain was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite (21’h x 26’w) in 1920.
Front curtain for the Richmond Scottish Rite, ca. 1920.Studio stamp on the back of the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Painted detail from the front curtain for the Richmond Scottish Rite, ca. 1920.Clips on side of front curtain used with guide wires.The front curtain for the Richmond Scottish Rite, ca. 1920.Fabric detail and vertical seam, front curtain for the Richmond Scottish Rite, ca. 1920.
Relocating any historic scenery collection from one state to another is always a challenge. Regardless of any information gathered during a preliminary site visit, there are always a few surprises.
The Richmond Scottish Rite scenery collection is composed of 73 drops, dating from 1902 to 1920. Much of the collection was produced by Toomey & Volland Scenic Studio of St. Louis, Missouri, during the first decade of the twentieth century. The original pieces measured approximately 20’h x 34’w. In the 1920s additional scenes were purchased from Toomey & Volland when a new stage was constructed. Interestingly, the size of the original scenery was reduced to 18’h x 26’w; all of the scenery was cut down on the top and at the sides at this time.
The drops viewed from the fly rail at the Richmond Scottish Rite. October 2020.View of arbors with counterweights on the fly rail. October 2020.
In the 1960s, the Richmond Scottish Rite built a new building and stage, but only hung 2/3 of their scenery collection. This meant that 1/3 of the collection went into storage, out of sight, out of mind.
Some of the drops were hidden under chairs and other debris above the properties room, stage left.Lowering the drops to the stage at the Richmond Scottish Rite. October 2020.Rolled drops discovered above the properties room at the Richmond Scottish Rite in October 2020 were lowered to the stage floor.
The current stage was much wider than the old one, and I believe that the original intent was to purchase new scenery for the 1968 stage. In the end, the additional stage space on either side of each drop was greatly appreciated during removal and temporary storage prior to shipping!
The Scottish Rite stage in Richmond, Virginia.Old scenery produced for previous stage was moved to the new building in 1968.One of the top battens with original shipping label. Some top battens were previously replaced with jute webbing and tie lines; all were failing.
Many original sandwich battens were replaced with jute webbing and tie line or pipe pockets about twenty-five years ago. Some repair work was done to various scenes too, including the replacement of 1” cotton netting with a ½” plastic version. Sadly, an abundance of hot melt glue was used to attach the plastic netting, irreparably damaging some areas of the painted scenes.
In the past, some of the original netting was replaced with a plastic version using hot melt glue.
In other cases, spray adhesive was used for attaching fabric patches, white foam, bobbinet and plastic netting. This was a singularly horrible idea, as the spray adhesive partially melted the white foam.
At some point, white foam was attached with spray adhesive along cut edges.Front of the same scene.
All of these “add-ons” had to be carefully removed before rolling, encapsulating and shipping. Leaving on the foam, plastic netting, or anything else would damage the painted surface. This job was much more than lowering drops from lines, rolling, encapsulating, packing and shipping. However, preserving these beautiful examples of scenic art will be well worth it.
After careful documentation of each drop, the rigging system and stage area, a plan was put in place for the relocation of the Richmond Scottish Rite scenery collection to Tucson, Arizona. It is a 2,228-mile drive from Richmond to Tucson – four days of driving. The major obstacles for this project were both holiday timing and a nationwide health crisis.
For context, the Richmond Scottish Rite was being sold and all of the drops needed to be removed from the building by the evening of Jan. 14, 2021. All other artifacts in the building were being removed mid-December in preparation for the sale. There was not enough time to complete the project before the holidays, so we were left with starting immediately after the New Year. This meant that I would have less than two weeks to complete the project. Due to the holidays, our departure from Minneapolis, Minnesota, was scheduled for Jan. 3, with work commencing on Jan. 5. My crew would consist of two riggers and two scenery handlers. There would be a fifth individual on call for the final loading of the truck. All locals.
As I watched the COVID-19 infection rate spiral out of control across the United States in December, my plans changed. If the building did not have a definitive sale date, I would have postponed the project until late spring or early summer. With the building changing hands Jan. 15, however, I saw no other option to save the scenery and decided to complete the job with only two other people. We would be our own self-contained quarantine bubble. Continued delays in nationwide shipping services and a supply shortage supported this decision. In the end, I would bring all supplies and food with me to make sure everything arrived on site and on time. By the way, the building is still for sale. You cannot imagine my reaction when I noticed the lack of a “sold” sign on the “For Sale” sign upon arrival.
The sale sign in front of the Richmond Scottish Rite. Note absence of “sold” on it.
So here is how I approached this particular project.
The two other people that I brought on site were my husband (Andrew Barrett) and Michael Powers. Between the three of us we have 180 years of life experience, as well as a healthy respect for safety protocols. Michael would handle the lines from the fly rail, with Andrew and I handling all of the scenery below.
Michael Powers at the fly rail. Richmond Scottish Rite.
All of our tools, supplies and food were transported from Minneapolis, Minnesota, to Richmond, Virginia, in a 15’ U-Haul truck. Food and supplies were packed after renting our first U-Haul on Jan. 2, 2021.
Andrew drove the truck and I drove my car. Michael bounced between the two vehicles for company. The intent was to leave the 15’ truck in Richmond, while having my car for transport to and from work. We would then rent a 26’ truck to transport the drops from Richmond to Tucson. The rolled drops measured 20’ long and the top battens measured 25’-5” long. Andrew would then drive the 26’ truck while Michael and I headed home to Minneapolis with half of my tools and some of the food. In Tucson, Andrew could drop off the shipment, return the 26’ rental truck and rent an SUV to transport himself and the other half of my tools home. Everything worked like clockwork in the end. In many ways, one of the most difficult tasks was planning meals to last for all of us from Jan. 3-20, so we did not visit restaurants or shop at grocery stores in another region.
The three of us left early in the morning on Jan 3, spending our first night in Indianapolis, Indiana. Due to weather conditions and other mishaps, our first 9 ½-hrs. driving day became an 11-hour day. Our only stops were gas stations and rest areas. By the evening of Jan. 4, we were unloading in Richmond, after another long day of driving. As planned, we started work on the morning of January 5. We worked five days in a row, took one day off, and worked four more days. We all departed Richmond on the morning of January 15. Our workdays ranged from 9 to 10 ½ hours, with our “day off” being reserved as a possible workday. Thank goodness we did not need to use it. We did not take breaks, and only stopped for a 30-minute lunch. We all felt the pressure form the compressed timeline, and I can’t sit still in general.
The first day went fairly slow, as we unloaded, prepped the space, and assembled the PVC pipes. We were only able to roll three drops that day, but established an efficient system.
One-third of the scenes had never been hung at the current theater, placed into storage in 1968 when the Scottish Rite Masons built their new home and stage. Until our October visit, these scenes were simply tucked away under piles of dust above a properties room, stage left. During my October visit, we lowered and documented these drops. Each rolled drop had both top and bottom battens. Only the original front curtain for the previous stage was missing a top batten.
The scenery that hung above the stage was an entirely different story. Fifteen drops still had their original top battens directly tied into the operating lines. Some of these drops still retained their bottom battens, but the majority had newer pipe pockets sewn onto the fragile fabric. Some drops had a combination of jute webbing and bottom battens. Other drops had both jute webbing and pipe pockets, replacing the original wood battens. As I suspected upon preliminary inspection, all of the seams were failing so the jute and pipe pockets had to be removed prior to transport. I didn’t want to chance their being reused. Due to time constraints, the drops with battens were cut off and the 26’-0” long battens shipped intact. By the way, this is also how the 1902 Little Rock, Arkansas, scenery was also shipped to Pasadena, California, in the 1920s. The original drop fabric was never removed from between the battens.
Historic fabric takes on a unique shape when hanging for decades, unlike rolled drops; it is quirky. Over time, the center and sides of a drop stretch, sometimes to an irreparable point. This means that you can’t line a tube up to the edges of the fabric and start rolling; you have to locate a central seam, position the tube and roll backwards to the edge, then secure the fabric to the tube. This is one of those odd projects where too many hands actually make more work. You want fewer points of contact when rolling. Rolling an historic drop is often time-consuming process, often consisting of rolling, re-rolling, re-positioning and re-rolling. This is often my least favorite part of the process.
I tried a new technique for rolling the drops this time out of sheer necessity; necessity being the mother of invention. Much of it had to do with the tube. Instead of a 20’ long tube, I pieced together two 3” x 10’ PVC pipes with a coupler. The ends also had temporary couplers to help elevate each side from drooping and maintain consistency while rolling. And there was just one person rolling – me.
Rolling a drop. The plastic was used to prevent hot melt glue remnants from damaging the painting.
I crawled along the center, slowly rolling with an open palm, using the coupler as my guide. The three couplers raised the tube ¼” off the ground, allowing the fabric to adjust during rolling. Andrew occasionally lifted the end of a tube, or shifted it, to adjust tension and overall direction. Unlike a solid 20’ tube that keeps constant pressure on the fabric, there is space for the fabric to adjust itself while rolling with the couplers. Overall, this was the easiest and best rolling job that I have ever completed in the minimal amount of time. Absolutely no creases or wrinkles.
The issue with rolling historic drops is that they are not flat pieces of fabric. Furthermore, the drops are no longer square; both tops and bottoms flare out. Although the task may seem simple, it is not. Drops do not roll up like large pieces of linoleum, easily feeding onto a tube at the same rate. You must always remember that there is more fabric in the center. The central fabric was stretched after billowing in the air for years; think of a parachute. This excess fabric and odd shape mean that the drop will not easily roll and have a tendency to “walk” in one direction or another. The tube needs to be at least a foot longer on each end of the fabric for walking. Once the fabric starts to “walk,” however, it can easily go off one side or the other. You need to prevent fabric from walking as much as possible. However, you can’t force the fabric onto the tube and make it roll on straight, as there will be areas with excessive material. Even employing constant tension during the rolling will cause wrinkles to form, as excess fabric gathers around the roll. Creases cause the paint to crack and flake during transit, so they need to be avoided.
Preparing to encapsulate a drop for transportation. Michael Powers at work.Michael Powers and Andrew Barrett encapsulating a drop.
Back to my timeline. The drops rolled on the floor were completed by the end of the third day, and we began lowering drops on the fourth day. Tyvek suits, respirators and hard hats were a necessity as the dust continued to filter down from the lines. We minimized the spread of contaminants in both the space and on ourselves. Unfortunately, I donated the majority of my N95 masks supply to medical workers last spring, and depleted my final supply of masks on site at the Tabor Opera House in September. I returned to standard respirators with N95 cartridges. People who complain about fabric masks have obviously never worn a respirator for an entire work day while doing manual labor.
Andrew Barrett in full protective gear.
We did get to rest on the sixth day, and drove to Virginia Beach to watch the waves. Seeing the ocean, and having a picnic lunch in our car on a col day did a world of good for our tired bodies and minds.
Our day off at Virginia Beach.
We were able to finish rolling all drops by Tuesday, Jan. 12. Wednesday was spent picking up the 26’ truck and building the shipping frame for the drops and battens. While Michael and Andrew prepared the truck, I completed the labeling system for the drops.
Organizing the drops and battens for loading.
The end of each roll contained two labels. The first (white) label included a number and description, as well as indicating whether it was the top or bottom of the vertically rolled scene. The number on the first label correlated to a detailed packing list. The second (color) labels listed the scenic piece, included an image pictures of the piece, and noted all of the Masonic degrees the setting could accompany. The color coding distinguished between exterior and palatial scenes, in addition to those reserved for specific empty lines at the Tucson Scottish Rite.
The rack to carry drops and battens.Drops and wood battens in 26′ truck.
Laughter sustained all of us for the majority of the project and we worked extremely well as a team. Michael and I returned to Minneapolis on Saturday, with him driving home Sunday morning (Jan. 17). Andrew dropped off the shipment yesterday (Jan. 18) in Tucson and starts for home today.
Tomorrow (Jan. 20) I return to all of the projects that I put on hold, especially the Tabor Opera House (Leadville, Colorado) scenery evaluation. I will continue to post painted details from both Richmond and Leadville in the upcoming weeks.
It has been a busy month, and I am currently in Richmond, Virginia. The Richmond Scottish Rite Theatre appeared on my radar again last month. The timing was less than ideal, since I was packing to leave for the Tabor Opera House in Leadville, Colorado. On September 17, I received word from Art DeHoyos that the Richmond Scottish Rite was selling their building and had no plans for the historic scenery collection. I immediately contacted Rex Hutchens, as a few years ago we tried to purchase the Winona Masonic scenery collection in an online auction.
In regard to the Richmond Scottish Rite, I was well aware of the potential sale, just not the timeline. Immediately after receiving the information from Art, I was on the phone with Rex, asking if he was still interested in acquiring a collection. After chatting briefly with him about the compositions, I contacted the Scottish Rite Secretary in Richmond to get more details, leaving a message. When I headed west to Colorado on the morning of September 19, I had little hope that I would ever see the Richmond scenery, or that it would find a new Scottish Rite home. I did not think about the Richmond Scottish Rite again until Rex called last Sunday, October 18. By Thursday, October 22, I was on the road again. The plan was to arrive in Richmond the next day; it was an eighteen-hour drive. I would catalogue the collection over the weekend, from 8AM-6PM each day, and depart on Monday. I needed to determine the scope of the collection and whether the drops would withstand the move. If everything checked out, I would come up with a transportation plan based on the impending sale of the building. Fortunately for me, I had slide collections from both Larry Hill and Lance Brockman, taken when they documented the drops a few decades ago. Prior to my departure I created a drop inventory based on the slides.
One of the slide images by Lance Brockman.
In addition to the slides, I knew that Toomey & Volland sold scenery to the Richmond Scottish Rite in 1920. From 1920 to 1921 the Richmond Scottish Rite enlarged their existing building and renovated the stage area. This meant that the Richmond Scottish Rite either acquired a new collection from Toomey & Volland or purchased additional settings for their existing collection. Regardless of what was purchased in 1920, the entire scenery collection was moved to a new building by 1968. The move meant that the collection was possibly reduced at this time. In the case of the St. Paul Scottish Rite, their move to a new building meant that the collection shrunk in size by one-third. For example, if a setting consisted of a leg drop, cut drop and backdrop, either the leg drops or cut drops were removed, effectively reducing the number of line sets required in the new space. This same thing may have happened in Richmond; meaning that the excess scenery was thrown out during the move, or it was tucked away somewhere in the building.Within ten minutes of arriving at the Richmond Scottish Rite, I had answers to many of my questions. There were only 49 lines hanging in the air, and most of the original sandwich battens had been removed; replaced with jute webbing at the top and pipe pockets at the bottom. Heaving a sigh of relief, I contacted Rex and explained the situation. Over the course of the day I shared photos with him and began to plan for the future move.
Scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.Scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.Scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.Scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.Scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.
Because of the limited number of drops, there was more time to play with lighting while documenting each scene. All was fun and games until the Secretary mentioned that there were about four drops tucked away above the stage left storage area. No problem. I was ahead of schedule and would have ample time on Sunday afternoon to unroll the drops, as well as fully documenting the unique rigging system. When I arrived at 8AM on Sunday morning, I asked to see where the four rolled drops were stored…
…and this is when everything changed.
There were many, many more drops stored above the properties room, stage left. Unfortunately, they were beneath a dozen lighting instruments, chairs, and storage racks. This was not a simple hand-them-down-and-unroll-them project. In a glance, I knew that this would tack on an extra day, and it would be dirty work. Now cataloguing a collection of hanging scenery is an entirely different task than lowering and unrolling drops that have been compressed for a few decades. First of all, there is a dirt factor. Within minutes of handling rolled drops that are a century old, your clothes, hair, neck, face and hands are covered in black soot. The drops require gentle handling or clouds of dust float everywhere. Needless to say, I was not appropriately dressed for the task at hand, nor was the crew. This project required many hands, and there were five of us: Michael Powers, Richard Finkelstein, Bridgette Dennett and Sarah Phillips. Bridgette and I handed down the drops to Sarah (on ladder), then Michael and Richard. After a few drops, I realized that we needed a sixth person, so I tracked down Paul, our Scottish Rite host that morning. Thank goodness he was willing to help. The addition of Paul meant that Sarah was able to stay on the ladder, while Paul, Michael and Richard placed drops on the stage floor. Slowly, and carefully, the drops were placed from the upstage wall to mid-stage; twenty-five in all.
Rolls of scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.One of the drops that was stored above the properties room at the Richmond Scottish Rite.One of the drops that was stored above the properties room at the Richmond Scottish Rite.
Meanwhile…
The stage lights had also malfunctioned, so while Michael was dealing with that issue, Bridgette, Sarah and I unrolled each scene. Richard photographed each piece from the top of a ladder, as he able to adjust the skewed perspective. While he was doing that, I climbed halfway up the ladder to photograph entire composition, then took detail images from the floor, catalogued the scenes, and labeled each drop for transport. Several top battens were broken, which meant it was not an easy unroll and re-roll task. However, we finished the project by 6PM.
Tomorrow, Richard, Michael and I will finish documenting the remaining scenes that are still hanging. Michael and I depart on Tuesday for the two-day drive home. It has been a challenging, but delightful time, as we have had the opportunity to photograph the settings under various lighting conditions. I will return to my blog “Tales of a Scenic Artist and Scholar” next week.
In 1917, Thomas G. Moses wrote,
“Some new work for Harvey D. Orr; quite elaborate.”
Harvey D. Orr was quite an
interesting character. Born in Wooster, Ohio, in 1865, both he and his brother Harold
entered the theatrical profession. In 1890, he founded the Harvey D. Orr
Musical Company. By 1906, he was the director for the School of Opera and
Acting at the Bush Temple Conservatory. The Chicago institution was advertised
as “the leading school of music, opera, acting and languages,” with fifty
teachers of international reputation on staff” (Inter Ocean, 2 Sept. 1906, page
25). By 1907 he Orr managed the Harvey Stock Company. A decade later, he was
still working as producer and performer with two extremely popular productions.
Harvey D. Orr pictured in an advertisement for “There She Goes,” from “The Altoona Times,” 6 Nov. 1917, page 3.
The Orr brothers were well known
for their 1914 musical comedy success, “The Million Dollar Doll.” By the
beginning of 1917, the show was enjoying a successful third season, traveling
with a carload of special scenery. Advertised as a big scenic production, the
show carried “special electrical effects” and “big novelty scenes” (“Caruthersville
Journal, Missouri, 8 March 1917, page 4).
Advertisement for Harvey D. Orr’s production “The Million Dollar Doll” from the “Chickasha Daily,” 4 Jan, 1917, page 4.
During the spring of 1917, Orr contacted
Moses at Sosman & Landis as he planned a new musical, “There She Goes.” On
October 18, 1917, the “Dunkirk Evening Observer” reported, “‘There She Goes’ is
a mammoth scene spectacle with a whirl of whirling dances and a wonderful
chorus of youth and beauty gorgeously costumed. There are two tremendous acts,
four glorious scenes and a joyous potpourri of tuneful melodies and truly
mirth-provoking comedy situations supplied y the Orr brothers. One of the
features is the latest New York craze, a ‘Jazz Orchestra,’ the first to be
carries by a road show” Advertised as Orr’s “most amusing musical comedy” and “a
mammoth scenic spectacle” (Tomes Herald, New York, 23 Oct., 1917, page 6).
Advertisement for Harvey D. Orr’s “There She Goes.” From “The Times Herald,” 23 Oct 1917, page 6.Advertisement for Harvey D. Orr’s “There She Goes.” From “The Courier,” 30 Dec. 1917, page 6
Later, “The York Dispatch” described,
“The opening scene is enacted from a setting of a beautiful Long Island Country
Club golf course, the second down in Honolulu. The leading action of the play
centers around Harvey and Harold Orr, who as Professor Ichabod Simmons,
bugologist, with a very absent minded trait, and his lackey Rufus Washington, a
colored gentleman of distinction, whose antics are in a large measure the laugh
of comedy. ‘There She Goes’ hinges about the love story of Vadentine Van Dyke
and Patricia Parmalie, which finally evolves in the marriage of Mr. John Smith
and Mary Brown, the latter being the real names of the couple, the former their
society dressings. Replete with mirth-making situations, tuneful melodies and
really pretty stage effects, ‘There She Goes’ is one of the best popular-priced
musical comedies now on tour” (York, Pennsylvania, 28 Dec. 1917, page 3).
Advertisements promised, “Beautiful Hawaiian Scenes, including the famous beach
at Waikiki” (Oil City Derrick, Pennsylvania, 18 Oct., 1917, page 13). The show
was extremely popular across the country, offering a much needed escape from world
events.
Advertisement for Harvey D. Orr’s “There She Goes.” From “The Oil City Derrick,” 18 Oct. 1917, page 13.Advertisement for Harvey D. Orr’s “There She Goes.” From “The The West Virginian,” Fairmont, West Virginia, 26 Sept, 1917, page 6.
“The West Virginian Fairmont”
reported the production was a “joyous potpourri of tuneful melodies, mirth
provoking comedy situations, colorful up-to-date costuming and dazzling
surprises. Dramatic scenic magnificence. Twenty-four song hits, a veritable
landslide of latest gown and millinery effects, rippling waves of laughter and
bevies of fascinating beauties in the chorus as well as among the principal” (Fairmont,
West Virginia, 26 Sept, 1917, page 6).
Advertisement for Harvey D. Orr’s “There She Goes.” From “The Lima News,” 2 Sept, 1917, page 10.Advertisement for Harvey D. Orr’s “There She Goes.” From “The Harrisburg Telegraph,” 29 Dec., 1917, page 8.Advertisement for Harvey D. Orr’s “There She Goes.” From “The Kane Republican,” 27 Oct, 1917, page 3.
“The Reading Times” announced, “Scenic
magnificence, many song hits, a veritable landslide of latest gowns and
military effects, rippling waves of laughter and bevies of fascinating beauties
in the chorus as well as among the principals, all contribute to the success of
the elaborate production” (20 Dec. 1917, page 6). The “Lima News” noted,
“Dreamy waltzes, lively one-steps, tantalizing tangoes, whirling eccentric
dance tunes and modern ballads, all blended into a carefully arranged mélange
to please from start to finish” (8 Sept, 1917, page 8). The performers included
the Polo Girls, the Imperial Quartet, as well as the jazz orchestra, Songs
included “When You’re Twenty-one,” “In Honolulu Town,” “Am Absent Minded Man,” “Some
Girl in the Summertime,” “Hawaiian Moon,” “I Fell for You in the Old Fall
River,” “The Seaside Rag,” and “Sometime if Dreams Come True.”
Music from “There She Goes” posted at eBay for sale.Music from “There She Goes” posted for sale on eBay.
Thomas G. Moses designed the scenery for the Ringling Brothers grand circus spectacle, “King Solomon and the Queen of Sheba.” Sosman & Landis delivered the scenery for the production in 1914.
In 1914, Thomas G. Moses wrote,
“Jan. 6th, went to Baraboo, Wisconsin, to see the Ringling’s for the
new spectacle, ‘King Solomon.’ Another big show. Made a model for one scene and
got $2,900.00.” Moses was referring to the 1914 Ringling production “Solomon
and the Queen of Sheba” that toured throughout the United States. Later in
1914, Moses wrote, “Ringlings’ work came out very good. Everyone was pleased and that is saying a
good deal.”
I have mentioned this grand
circus spectacle, or spec, in the past, but it is worth repeating. It provides
an additional layer of context for the painted tradition preserved in Scottish
Rite theaters.
“King Solomon and the Queen of
Sheba” was presented in a series of dramatic pantomimic pictures staged with
“all the lavish splendor and opulence that marked the period when the wise
Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in
Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba” (Star
Gazette, Elmira, NY, 21 May 1914, page 3).
The Star Gazette reported, “The spectacle is presented on an enormous,
specially constructed stage, which occupies nearly one entire side of the main
tent. The tent measures 560 by 320 feet
and seats 14,000 people at a performance” (21 May 1914, page 3). Remember that
two shows were given daily; one at 2pm and one at 8PM, and the doors opened an
hour before show time, allowing spectators to visit the 108 cages in the
Ringling zoo and purchase candy and souvenirs!
In 1914, the “Indianapolis Star”
reported, “Nero has watched his Rome burn to a cinder beneath a circus tent.
Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatra
has taken her last look at Egypt before the clown’s entry. And now the wise King Solomon and the Queen
of Sheba have been made the hero and heroine of the circus spectacle,
surrounded with all the gorgeous pageantry and lavish costumes a showman can
devise” (4 May 1914, page 3).
Thomas G. Moses designed the scenery for the Ringling Brothers grand spectacle, Solomon and the Queen of Sheba” in 1914.
On May 21, 1914, the “Star
Gazette” reported:
“Nearly half of the entire train
section is used to transport the scenery and costumes used in the massive
spectacle, ‘Solomon and the Queen of Sheba.’ The spectacle includes a cast of
more than 1,250 characters and a ballet of 300 dancing girls under the personal
direction of Ottokar Bartik, ballet master of the Metropolitan Opera House, New
York, and late of La Scala, Milan. The
music for this spectacle has been written by Faltis Effendi, formerly
bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90
musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a
cathedral pipe organ, costing $100,000.
The Ringling Brothers’ have expended $1,000,000 in the production of
this mammoth spectacle which faithfully and accurately portrays the pomp and
ceremony, life and wisdom of a period a thousand years before Christ, and
introduces Solomon in all his glory and Balkis, Queen of Sheba, the most
interesting woman of her day” (Star Gazette, Elmira, NY, 21 May 1914, page 3).
From the “Reading Times,” 16 May 1914, page 9.From the “Pittsburg Press”, 5 May 1914, page 16.
The US Inflation Calculator
measures the buying power of $1,000,000 in 1914 to be the equivalent of
$25,200,600.00 in 2018. Fifty men were needed to handle scenery and special
effects (Dayton Daily News, 26 April 1914, page 31).
When the circus arrived in
Elmira, New York during 1914, the “Star Gazette” included a large article about
the early morning arrival and events, advertising:
“The big circus is almost
here. Tomorrow morning in the small
hours just before dawn, four long red and yellow trains, made up of 86 cars
will roll quietly into Elmira coming from Binghamton, over Lackawanna
railroad. They will be unloaded
immediately and within a few hours the big aggregations of world wonders which
comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered
under twenty acres of white canvas on the show grounds.”
From the “Sheboygen Press,” 7 July 1914, page 1.From the “Sheboygen Press,” 7 July 1914, page 1.
The circus included an elaborate
parade that traversed the principal streets of each town on the morning of
their arrival. The “Star Gazette”
announced, “The cavalcade which, it is promised, will be the longest and most
gorgeous display ever seen in the streets of this city, will start from the
show grounds promptly at 10 o’clock. It
will be more than three miles in length and will include all the performers and
animals, in addition to the long procession of handsome tableau wagons and
allegorical cars, filled with pretty dancing girls in gay costumes. Six bands and two calliopes will furnish the
music for the cavalcade and the fifty famous Ringling clowns will be on hand to
keep the sidewalk spectators in good humor.
A striking feature of the procession will be the long line of elephants,
forty in all, and a team of sixteen camels, broken to bit and harness driven the
same as horses. These beasts draw a huge parade wagon and this is the first
instance on record where the ‘ship of the desert’ has ever been successfully
broken to harness and bit.”
The “twenty-four hour man”
arrived a day ahead of the circus to set up the infrastructure needed to feed
an enormous amount of people and animals. Other circus staff that arrived a day
early included “a number of stage and electrical experts who precede the show
to make arrangements for the staging and lighting of the big spectacle “Solomon
and the Queen of Sheba.” It is important to remember that the King Solomon
spectacle was just one of the principal features for the Ringling Brothers’
program that season; it was not the whole show.
This makes theatrical touring shows, such as “Ben-Hur,” seem like
child’s play when compared with the logistics of a touring circus with
thousands of moving parts.
The first train to arrive was
the commissary department and the first tent to be pitched on the show grounds
was the “cook house.” The second and
third trains pulled the heavy red wagons, loaded with canvases, properties, the
elephants, the 730 horses and the other animals. On the last train, composed entirely of
sleeping cars, arrived all of the performers and ancillary staff members for
the show.
The Queen of Sheba was played by
Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French
teacher of pantomimic art.
From the “Indianapolis Star,” 4 May 1914 page 3.
One of the things that I keep thinking about is the
logistics of organizing and managing a touring circus a century ago, especially
the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The
Pittsburgh Press published an article that provides insight into the 1914
circus (11 May 1914, page 14):
“The big enterprise bearing the name of the five brother
showmen arrived in Pittsburgh in the small hours of Sunday morning and with
very little noise and no confusion an enormous tented city was quickly
established on the show grounds in East Liberty. The show came from Wheeling, W. Va., where it
exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad
by a vast horde of excited youngsters who had braved both the displeasure of
parents and Sunday school teachers in order to be on hand to help unload the
elephants and lead the spotted ponies to water.
All day yesterday they loitered around the East Liberty grounds watching
the erecting of the tents and other unusual sights.
Twenty-four tents are required this season. The main canvas – the big top is the largest
the Ringlings have ever used – is especially constructed, not only to
accommodate the circus with its three rings, stages and hippodrome track, but
also arranged for the massive spectacle ‘Solomon and the Queen of Sheba,’ which
is presented on a stage five the size of that found in the largest theater. The
Ringling circus is a perfect city in itself traveling every night, making a new
city every day and morning with more system, rapidity and less fuss and noise
than any branch of the army. To prepare
for its coming exactly 106 representatives, each with a various mission to
perform, have visited this city.
All of the cooking for this enormous enterprise is done
by steam and in ranges built in a wagon weighing six tons and drawn by eight
horses. As a mere detail of the
marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs,
800 pounds of bread, 150 pounds of sugar and other items equally as large. The first order to the cooks in the morning
is for 5,200 griddle cakes and yet, as large a number as this may seem, it is
only four a piece. For the stock and animal department there are used daily: 10
tons of hay, five tons of straw, 300 bushels of oats, while no well behaved
elephant would think of starting his day’s labor without his morning cereal – a
bale of hay. Most of all, these
purchases are made from local merchants.
The circus travels on its own trains and only requires
engines and crews from the railroads.
The show also carries its own blacksmiths, horseshoers, wagon and
harness makers, tent makers, rope splicers and a corps of decorators are kept
on hand continually touching up the gilded and brilliantly painted tableau
wagons and cages. Two men are employed
eight hours a day doing nothing but greasing axles. In the wardrobe department presided over by
Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000
costumes have to be handled daily and kept in repair. Five dressmakers and six
tailors, besides armorers, are in this department. The circus has its own physician who carries
with him a complete surgical and medical outfit. There is also a barber shop
and, incidentally, no driver or man appearing before the public is allowed to
leave the show grounds until he is shaved. This also suggests another rule
strictly enforced by the Ringling Brothers’ which absolutely forbids the use of
whips by any of their drivers.
It costs $8,000 a day to run the circus and it represents
and investment of nearly $4,000,000. The
show maintains winter quarters and shops at Baraboo, Wisconsin, and
Stoke-on-Trent, England. The firm is now planning an expedition of its own to
trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on
the alert to secure novelties.
Starting as mere boys with a borrowed tent in which they
were given a few juvenile attempts at entertainment, these five brothers have
seen their dreams realized and have become master showmen of the world.
The afternoon performance began at 2 o’clock and the big
tent was crowded. Opening the bill came
the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or
so effectively presented has ever been given here before. The opening pageant, the ballet of dancing
girls and the dramatic action were veritable surprises. The spectacle was followed by surprises. The spectacle was followed by the circus
performance in which 400 men and women appeared. More novelties that ever before are
presented, the Ringlings having brought from Europe the majority of their
people.
The final performance will take place Tuesday night at 8
o’clock. The doors open an hour earlier,
allowing time to visit the extensive menagerie and also enjoy the operatic
concert rendered by the military band of 80 pieces.”
To be continued…
Poster for Ringling Bros. grand circus spectacle, Joan of Arc.
In 1913, Thomas G. Moses wrote,
“Had to go back to Baraboo to get a new contract for more work. Total $13,695.00.” Today’s equivalent of
$13,695.00 in 1913 is $355,183.28.
Later that year, Moses wrote,
“When we were setting the Ringling scenery at the Coliseum, the big elephant
stampeded and there was some excitement for awhile, but the trainer went after
them and brought them back and made them go through all the tricks again.”
From 1905 until Al Ringling’s
passing in in 1916, Thomas G. Moses completed several designs for the Ringling
Bros. grand circus spectacles. Al
Ringling worked with Moses to design scenery for their grand circus spectacles.
The work that Moses mentioned in 1913 was for their Joan of Arc spectacle.
Poster for Ringling Bros. grand circus spectacle Joan of Arc, 1913.
In 1913, newspaper
advertisements across the country announced the Ringlings’ “newly added
$500,000 spectacle of ‘Joan of Arc” (The
Placer Herald, Rocklin, CA, 23 August 1913, page 3). The attraction was
described in hundreds of articles, such as the “Pawnee Rock Herald” (Pawnee,
Kansas, 17 July 1913, page 3). The “Pawnee Rock Herald” reported, “Ringling
Bros. circus is attracting unusual interest this season because of its many new
features and the new aspect given the show by the addition of the great
spectacle ‘Joan of Arc”…There will be a new parade in the forenoon three miles
in length. The menagerie is practically twice as big as it was last year and
contains many specimens of strange animals. Audiences will be entertained by
375 of the greatest of Europe’s circus artists…The great feature of the show of
course is the newly added spectacle ‘Joan of Arc,’ with a trainload of special
scenery, costumes and stage properties and a cast of 1,200 characters. There is
a ballet of 300 dancing girls, a chorus of 400 voices and an orchestra of 100
soloists.”
Of the spectacle, the article
continued, “This is the greatest dramatic and spectacular production ever
presented in America, enacted on a specially built stage bigger than a hundred
ordinary theatres. It is made portable so that it can be erected in the main
tent each morning. This great entertainment is given as an introductory to the
regular circus performance and entails no extra charge of admission. John of
Arc tells a masterful story from French history in a thrilling and dramatic way
and with the wonderful illusion of tone of special scenery and stage devices.
In the great battle scene the audience is held spellbound by the realism of the
scene while the enactment of the coronation of Charles VII is beyond question
the most sumptuous and inspiring stage picture ever seen.”
Scene from Ringling Bros. Joan of Arc with scenery by Sosman & Landis. Image from the “Santa Ana Register,” 4 Sept 1913, page 8.
An article in the “Great Bend
Tribune” announced the arrival of the advance men (Great Bend, Kansas, 5 July
1913, page 1): “Thursday night a huge eighty-foot car pulled into the Santa Fe
station with a coat of bright red paint, it announced in blazing letters of
gold, ‘Ringling Bros.’ World’s Greatest Shows Advertising Car No. 1’…Ringling
Bros. have three advance cars, following one another a week apart. The no. 1
car goes to each town three weeks before the circus is due to appear. It
carries twenty-seven men, consisting of twenty billposters and six
lithographers, in charge of the veteran car manager, George Goodhart. A steam
machine for making paste is carried on the car and every night the porter makes
twelve barrels for use the following day. The head lithographer sees the dates
are pasted on the lithos and the car manager lays out the work for each man to
do. At 5:30 a.m. the men are called, breakfast is served at 6 o’clock, and at
6:30 the local livery teams are at the car ready to take the billposters to the
outlying towns and through the city itself to plaster the billboards. The
lithographers start with their bundles of lithos (in circus parlance called
‘hods’) to decorate the store windows, and by the time the supper hour arrives
everybody knows the big circus is coming and enthusiastic and excited
youngsters are busily engaged in planning a touch on ‘daddie’ for the price of
a circus ticket. The men who do the country work also carry the show heralds
for distribution. The next car is the excursion car. The No. 3 car will do the
local work.”
As the Ringing Bros. trains
crossed Kansas, the “Topeka Daily News” announced, “While numerous alarm clocks
were tinkling under pillows of small boys throughout the city this morning,
there arrived in the yards of the Rock Island Railroad four long trains,
composed of 86 cars bearing the Ringling Brother’s circus” (“Topeka Daily News,
“July 24, 1913),
One-half of an entire train was
used for the costumes and scenery of the spectacle of “Joan of Arc.” Of the
show, the article continued, “This spectacle, in a series of brilliant
pantomime pictures, tells the dramatic story of the Maid of Orleans, the simple
peasant girl who led an army to battle and restored Charles VII to the throne
of France. The costumes and scenery are the most gorgeous and costly every used
in a production of this kind, either under canvas or in a theater” (page 7).
The production was further described
in the “Hartford Courant:”
“The play begins when Joan, just
16 years old, comes from her father’s pasture at Domremy at the command of the
Archangel St. Michael to the court of Charles VII, at Chinon. In the light of a
thousand torches she is brought into the presence of the King in the great
palace which throngs with the nobles of France. The reception which the King
gives to the peasant girl is filled with impressiveness and suspense. The
second climax of the great spectacle is reached when Joan, dressed in armor,
crossed the river of Orleans, and rides at the head if the French army into the
gates of the beleaguered city. One of her heralds presents himself at the
English camp. Respect to the messenger is sent to defy Talbot, and to declare
from the girl that is any harm is done him it shall be retaliation on the
English prisoners. Joan in shining armor appears on a tower facing the Tournelles,
bidding the soldiers of Suffolk and Talbot to depart. This they refuse to do.
At the head of the French knights and archers Joan rides between the towers of
the besiegers and followed by the villagers who look on in wonder at the sight
of a mere girl leading the armies of France. The stage version ends with the
introduction of a great ballet of 300 beautiful dancing girls, a grand opera
chorus, 600 horses and an ensemble o 1,200 people. The closing chapter of
Joan’s life is too sad for this drama of gladness, through her capture, her
imprisonment and her execution are told n a series of thrilling tableaus by
means of tons of scenery and a great battery of electric mechanism” (17 May
1913, page 16).
Joan of Arc advertisement placed in the “Hartford Courant,” 17 May 1913, page 16.
C. W. Park Show advertisement published in the “Messenger Enquirer,” (Owensboro, KY), 10 Aug 1913, page 13.Detail of advertisement in the “Messenger Enquirer,” (Owensboro, KY), 10 Aug 1913, page 13.
In 1912, Sosman & Landis delivered
scenery for the C. W. Park Dramatic Co. The tent show was advertised as “the
oldest, biggest, best and most perfectly equipped canvas covered theatre in
existence” (“Messenger Enquirer,” Owensboro, KY, 10 Aug 1913, page 3). Playing
weekly engagements that featured various vaudeville acts under a big top, the
show came complete with a full stage, scenery, lights and even ushers. The
“Decatur Daily” advertised, “Park’s Dramatic and Vaudeville Shows Coming. Will
be here all next week – forty people and fine scenery” (Decatur, Alabama, 14
May 1912, page 2).
The history of the production
company is quite interesting. In 1907, the C. W. Parks Show was reorganized due
to some original members accepting other work (“The Gasden Times, “Gasden,
Alabama, 22 Jan. 1907, page 2). Park began fine-tuning his acts, and by 1909
became the C. W. Park Big Stock Co. The “Roanoke Leader” reported that the C.
W. Parks would return, appearing “under their mammoth water-proof canvas” (Roanoke,
Alabama, 1 Sept 1909, page 8). The
article continued, “The C. W. Park show is stronger than ever, having been
enlarged in all departments, carrying all new plays…Mr. Park holds the
territorial rights south of the Ohio River and east of the Mississippi, besides
new plays. An entire new company has been engaged, and artists from the leading
theatres in the north and east are engaged with the company…Special electrical
effects, a car load of special scenery, and a host of high class vaudeville
(especially engaged for this line of work only) makes the C. W. Park show
larger, greater and grander than ever before.” By 1912, “The New York Dramatic
Mirror” listed Park’s new company “UNDER CANVAS: C. W. Park Dramatic Co.” (page
26). The tent company was still billed as a vaudeville show; the touring
production included a substantial company with impressive scenic effects.
In 1912, the “Decatur Daily” published,
“The company is now composed of forty and requires two of the largest of the
Southern baggage cars to carry scenery, which is all new and up-to-date, being
from the famous studio of Sosman & Landis. This is the largest company of
its kind in the business and carries a modern and fully equipped theater, all
the ushers and attaches appear in uniform, and instructed to attend to the
wants of the patrons. Several new faces appear among the acting forces, as well
as in the vaudeville forces, of which there are eight acts. The plays will be
changed nightly, as well as the vaudeville (Decatur, Alabama, 14 May 1912, page
2).
The 1912 production included
“The Man Who Dared,” “Dolly and I,” “A Round Up,” “St. Elmo,” and “The Shepherd
of the Hills” (The Commercial Dispatch, 22 Aug. 1912, page 1). The scenery for the
acts was advertised as “new and up to date from the famous Studio of Sosman
& Landis.” Of the production, the article continued, “This is the largest
company of its kind in the business and carries a modern and fully equipped
theatre, all the ushers and attaches appearing in uniform, and instructed to attend
to the wants of the patrons” (The Huntsville Times, 9 May 1912, page 1).
There were many projects
completed by Sosman & Landis during 1912 that were not mentioned by Thomas
G. Moses in his memoirs. Sosman & Landis provided the scenery and stage
effects for a touring production called “The Seven Aviator Girls.” The
“Quad-City Times” reported that Sosman & Landis provided scenery for “The
Aviator Girls,” a musical act composed of “seven winsome women” (17 March 1912,
page 12).
Scenic embellishments accompanied
each song, to “make them all the more delightful.” The production was produced
by Virgil Bennett and headed by Miss Carlie Lowe, who was accompanied by the seven
aviator girls in what was billed as “a spectacular scenic and singing novelty.”
The four scenes for the show included “Owl Land, “ “On the Beach,” “In the
Surf,” and a Japanese Palm Garden.” Musical interludes (olios) between scenes included
“The Boogie Boo Owls,” “Serenade Me Sadie,” “Spooning in My Aeroplane,” and
other catchy numbers” (Los Angeles Times, 4 Aug. 1912, page 26).
“The Daily Gate” reported that
the show was “a spectacular musical and scenic singing act that has been the
sensation in all the big houses in the country where they have played. A
carload of special scenery is carried with the act and is said to be one of the
most beautiful stage settings found in vaudeville. A special property man and
electrician are carried with the company, which numbers seven principles and
two mechanics” (Keokuk, Iowa, 17 Oct, 1912, page 5). The “Davenport Times”
described, “They have five different song numbers and each means a change of
costumes and ‘back drops.’ As a result their tuneful efforts are accompanies by
a spectacular display that induces the natives to applaud vigorously. The big
number, ‘Spooning in My Aeroplane,’ presents Miss Carlie Lowe soaring up to the
roof in a miniature machine, while her feminine mechanicians cut fancy
‘diddoes’ with their feet and join the chorus in song. It is a prettily staged
and engaging act all the way” (Davenport, Iowa, 19 March 1912, page 8).
Abdallah Shrine Scenery article in “The Leavenworth Times,” May 14, 1922.
On May 14, 1922, “The Leavenworth Times” reported
that Universal Scenic Studio was creating new scenery for the Abdallah Shrine
in Leavenworth, Kansas; both a permanent set for the space and a touring
version when the Shrine visited other cities.
Here is the article in its entirety:
“’The Crescent is the official Shrine organ, published in
St. Paul, Minn. A story in the May number of the publication, which follows,
several of the special drops are described but the one that interests
Leavenworth people the most and the one with which all are familiar, has been overlooked.
This is the woods scene, taken from a photograph of Shrine Park, taken from the
lake, looking south toward the bog dam that was constructed by the Fair
organization. This scene is quickly recognized by all who have been inside the
temple.
Of the
other scenes, The Crescent, under the caption ‘Abdallah’s Stage Settings’ says:
It is safe
to say that no Shrine temple in North America will possess more magnificent
scenery for staging ceremonials that will Abdallah of Leavenworth, Kansas.
The
Crescent man has viewed the scenic sets in the making, and if the Abdallah
stage stuff is not
‘real
class’ then Mohammed was a bum showman.
It just
happens that the scenery is being made in St. Paul, where The Crescent mixes
with the other saints and that Noble Boyd P. Joy is the man who is making it at
Universal Scenic Studio, and those facts gave The man to take chance to see the
stage equipment.
We wanted
to say that before going ahead with this yarn, and to add that this story is
being written, not as a paid advertisement, but as an appreciation of what is
being done for Abdallah and her nobility to enjoy.
And that’s
that.
Out of
4,000 yards of canvas and 4,000 feet of lumber, coupled with the many gallons
of various colored paints, by artists who know their business, Noble Joy is
creating reproductions of Meccas, the palaces and the Caliphs, and other views
of equal importance to the story of the ritual.
Beginning
with the asbestos curtain, showing an asbestos scene, every figure life size,
and running through all the stages of the ritual scenes, are being made to fit
the enormous stage out n Leavenworth, wit its 58-foot opening, and to truly
present Arabic life on the desert as it is – or was when the Prophet was on
earth. The asbestos curtain is simply enormous – it weighs half a ton. The picture
runs through the entire width and height of the proscenium arch and shows the
arrival of the caravan at the oasis at the hour of evening prayer. Over on the
left is a low wall well and opposite it the followers of the Sheik appear to be
busy in the formation of a camp while the chieftain of the tribe is kneeling on
his prayer rug. In the distance appears the desert, with a glimpse of the
pyramids showing through the haze. It is a splendid picture, and he wanted it
without borders that usually are used to frame such a view – it stands out
boldly for just what it is, an Arabic camp.
One
cyclorama which must be all of 200 feet in length will encircle the stage,
except across the front, while another complete stage setting includes a view
of the sacred city from a minaret on the right. The tower has a balcony for the
use of Muezzin, and on the opposite side are set pieces representing buildings
along the street, with bazaars, etc.
The palace
scene is made with set pieces, the drop at the rear being made to carry sliding
doors. Through that opening the Potentate will make his entry.
The set
pieces include tents, sphinxes, pyramids, palm and date trees, throne, and a
whole mess of other things, and all so braced an arranged that they ‘stay put’
when required on stage, but can be quickly removed.
The
Abdallah stuff really includes two complete sets of scenery, one for permanent
use at the new Leavenworth mosque, and the other to be taken along when the
temple visits other cities in the jurisdiction.
The scenery
is to be loaded into a car and be delivered and place in the mosque not later
than May 15, and from the amount of labor-saving machinery being used on the
job, it will likely accomplish it.”
The
Abdallah Temple was chartered March 28, 1887. In 1910 the Abdallah Shrine
purchased the old Crawford Grand Opera House, originally erected in 1880. Located
at the corner of Shawnee Street, south side, between fifth and sixth streets,
it was extensively overhauled and became the well-known Shrine Temple until
1921. In 1921, a new Temple was erected on the lots just west of the original
one. At a cost of approximately $200,000, the stage was an integral feature to
the building with the new scenery from Universal Scenic Studio of St. Paul,
Minnesota.
Postcard depicting the Abdallah Temple in Leavenworth, Kansas.
The Shrine
was known as the playground of Freemasonry. After a Mason’s arduous study in
the Blue Lodge (first three degrees of Freemasonry), he continued his study of the
Craft in either the York Rite or Scottish Rite. This labor was a pre-requisite
to joining the Shrine, although not any more. However, even in 1921 there was an option if
men didn’t want to take the time or money to join the York or Scottish Rite
that culminated in the Shrine; they joined a the Grotto. For those Masons not
interested in the continued study in the Scottish Rite or York Rite, the Mystic
Order of the Veiled Prophets of the Enchanted Realm (M.O.V.P.E.R. Grotto) was
an option and considered the “poor man’s Shrine.” Back to Leavenworth and Abdallah
Temple.
1921,
Abdallah membership reached 4,500 with its jurisdiction extending over nineteen
counties in the northeastern part of Kansas. At this time, Abdallah Shrine maintained
a band and a patrol unit at Leavenworth, with ceremonials held several times
during the year; Abdallah events drew in large numbers of men from Leavenworth
and the surrounding districts. The Abdallah Shrine even owned the park southwest
of the city, formerly known as the Leavenworth County Fair Association Park.
The park included bathhouses, a dancing pavilion, racetrack and other places of
amusement, a perfect gathering location for Masons and their families.
Part 521: Palette & Chisel, November – The Changing Times of Scenic Art
Thomas G. Moses was a member of the Palette and Chisel Club in Chicago and contributed a variety of articles to their monthly newsletter during the late 1920s. His series “Stage Scenery” was first published during September 1927. The article, however, was written by Moses during the spring of 1918.
Palette & Chisel newslsetter from November 1927 with Thomas G. Moses’ article “Stage Scenery”
Here is Moses’ final November installment during 1927:
“Advertising in theatrical papers and magazines is quite necessary for this line of scenic painting. Illustrated catalogues are gotten up with a good deal of care and half-tones of the actual painted scenes are used. As stages differ in many ways, especially in size, from nine to forty feet in depth, it is quite essential that accurate dimensions be obtained. A card is sent to the prospective buyers which they fill out, giving all the required measurements. The scenes needed are listed, estimates made, the order is received, and each scene is given to the artist who is the most competent to execute that especial scene.
Advertisement for P. Dodd Ackerman & Co. scenic artists and constructors, 1905
Sosman & Landis studio advertisement
Sosman and Landis shipping Label attached to a wooden arbor
On completion the drop and borders are rolled up the short way and boxed, the frame-work is crated and shipped by express or freight. Instructions are sent for the hanging and setting of all scenes; on many stages it requires the supervision of an expert who is sent to do the work. Models and sketches are made and a miniature stage with all lines and lights, is used to set up the different scenes. The customer can see exactly what he is going to receive. As the average small theatre does not change the scenery within a period of ten years or more it has to be very neutral in design and color so it will not tire the audience in the ten years of wear.
Scenic artists working on a paint bridge, high above the stage
Scenic artists working in a studio
For many years the larger theatres in many parts of the country put in a paint frame and bridge. The scenery was then built and painted in the local theatre, which necessitated the artist and assistant, with a good mechanic, to travel about the country. The writer did this for twenty years, from Maine to California, back and forth, some theatres taking as long as ten months to stock while others were finished in two months. In those days the scenic artist and his work were looked upon in an entirely different light than they are today. Possibly it is the fault of the artists; an indifference as to the real worth of their work has caused the managers to look to others for suggestions, making a simple workman of the artist, one who only follows their instructions, allowing the stage manager to receive all of the credit for the stage settings, while the artist labors on the paint frame all through the hot and sultry night to produce something artistic.
The scenic art has been the starting point for a great many of the well-known picture painters. Among the English painters are Clarkson, Stanfield and David Roberts. All were prominent scenic artists and became as great in picture painting. Some of the leading American artists were scenic artists. J. Francis Murphy was an assistant to Mr. Strauss, who was the artist at Hooley’s Theatre in 1874. The well-known illustrator and water colorist, Charles Graham, was also an assistant to Mr. Strauss at this same time.”
The article continued, “W. C. Fitler was another scenic artist who made good pictures. Jules Guerin, the noted illustrator, started his art career as a scenic artist. I might name several dozen artists who owe their early training to scenic art.
There are a dozen Chicago scenic artists who have forsaken the paint frame pictures for the easel pictures. In a way I do not blame them, for scenic painting is made up of ling hours and hard manual labor. The bigness of the work appalls many who venture into the game, and, with its dirt, soon discourages them and they looker for a cleaner vocation. The close confinement of the old theatre days was another disagreeable feature of the work that never appealed to anyone; no daylight, always long hours and foul air.
The studio of today is an entirely different proposition; a large airy room, plenty of space in which to work, regular hours, all new work, and with very few exceptions, congenial companions; each artist specializing in one line of work, plenty to learn each day and good salaries paid to all, is a big inducement to forsake the stock painting in the theatre and accept the studio work.
The establishment of the scenic studios has created a great deal of competition and sometimes it is very keen, for there are quite a number of assistants who do not know the business thoroughly, yet can convince a certain type of theatre managers who, very often are managers of a very good theatres, that their painting is just as good as that of a man of more than thirty years’ experience and a national reputation.
The raw material has advanced at such a rate that it is impossible to keep pace with it. At this writing (spring of 1918) with the great world’s war going on, common cotton has advanced to thirty-four cents a yard when two years ago it was only eleven cents, and the quality has dropped one hundred percent.
It is impossible to get the rich color we had two years ago. The color question is one of great importance. To begin with, one of the first important features of scene painting is the ground coating or “priming,” whiting and glue size. It must be very carefully mixed and “just so.” T takes several buckets to prime and ordinary drop; the edge must be kept wet so the color will be even all over. If the color edge is dry it will become too thick and will crack when rolled up. In many cases a strong tint in the priming is used for a tonal feeding, especially in landscape. It gives a certain amount of looseness when plenty of tonal color is left in the painting.
