Category: Scenery Restoration

Tales from a Scenic Artist and Scholar. Part 296 – Still a Man Hears What He Wants to Hear and Disregards the Rest

A line from Simon and Garfunkel’s song “The Boxer” is very applicable for today’s post.

There are pros and cons to every paint system, especially when using dry pigment paint and diluted hide glue. Any introduction of water will reactivate the paint and binder instantaneously. Water damage to historical scenery is often extensive and unsightly. Prolonged water damage is a death sentence, especially if the dry pigment starts to dust off and surface mold appears in areas. Both of these happened at the Masonic Theatre in Winona, Minnesota, when a roof leak above the stage and was never fixed. Paul Sannerud and I were hired to remove and place the entire collection into on site temporary storage when the City decided to finally renovate the auditorium and stage area. Water damage was first noted in the 1990s and it continued until 2014 when the entire collection was placed in storage where it would supposedly await some form of preservation.

Removing scenes for storage in 2014. City of Winona Masonic Theatre. Photograph by Wendy Waszut-Barrett.
Removing scenes for storage in 2014. City of Winona Masonic Theatre. Photograph by Wendy Waszut-Barrett.

Extensive water damage in Winona decimated a lovely early-twentieth century scenery collection. The frustrating aspect of the story is that it was entirely preventable, unless you really didn’t want to have a historic drop collection.

I have frequently heard the phrase “People don’t know what they don’t know.” I also sincerely believe that with the correct information, most people can make informed and reasonable decisions. However, some people don’t want to be informed, or ignore the facts entirely. For almost two decades, I repeatedly explained to one City of Winona official the need for appropriate care and handling of their painted scenery. The problem was that I wasn’t telling them what they wanted to hear.

Now the City of Winona only owns a portion of this water-damaged collection. Much of it was auctioned off last month to another Scottish Rite who had no idea what they purchased site unseen. You see the pictures posted for the online auction were from 2010 and the scenery went into storage in 2014. For four years after my 2010 assessment, water continued to damage the historic scenery collection. Streams of water rushed down many of the drops. The roof leak was never repaired, so the collection continued to deteriorate until it was placed into storage.

Water Damage visible on the City of Winona’s Masonic scenery collection, 2014. This photograph was taken when Wendy Waszut-Barrett and Paul Sannerud were hired to place the scenery into temporary storage.
Water Damage visible on the City of Winona’s Masonic scenery collection, 2014. This photograph was taken when Wendy Waszut-Barrett and Paul Sannerud were hired to place the scenery into temporary storage.

The collection was in far worse shape than depicted in my 2010 scenery evaluation pictures. Yet these are still the pictures that were used for the online auction and the call for scenery preservation bids last month. I contacted the city to express my concern that a recent assessment had not been conducted prior to requesting bids for the work or the auction. Last spring, I had recommended that Curtains Without Borders complete a current assessment and establish the specifications for any restoration work, so that individuals or companies could all bid on the same thing.

While removing the scenery in 2014, I noticed active black mold. Not old mold, recent mold and pointed it out to City officials. Later on, there was a rainstorm and I both photographed and videotaped the water leaking down from the roof.

Puddle of water on the Winona Masonic Theatre stage floor. This photograph was taken when Wendy Waszut-Barrett and Paul Sannerud were hired to place the scenery into temporary storage.

Again, I passed the information onto city officials. At the end of the project, my one assistant said, “Are you supposed to see the sky from the stage?” “No!” I responded, and immediately began looking up. However, without all of the drops, we could clearly see the waterlogged wood of the grid too. I contacted city officials and they came in to see the holes above the stage.

Water damage is visible to wood once all drops were been removed from the counterweight system at the Winona Masonic Theatre. This photograph was taken when Wendy Waszut-Barrett and Paul Sannerud were hired to place the scenery into temporary storage.

Most recently, I explained to the city that I could not bid on a project site unseen, or without some form of professional assessment by an independent entity. The City responded that any interested party could visit and unroll each of the thirteen drops to assess the current damage after scheduling an appointment. It was clear to me at that moment they still had no idea of what they owned, its historical significance, or the fragility of each drop. I was still explaining that the excessive handling – rolling, unrolling, rolling, unrolling – would cause irreparable damage to a collection that was perilously close to the end of it’s life. I could also no longer vouch for the condition of each piece as I last saw it, as before the auction, twenty-five drops were removed from the 2014 custom-built storage rack. People who were not trained in the handling of historic scenery moved, unrolled and rerolled many of the drops. It was a red flag to me.

Custom built storage rack to temporarily house the City of Winona’s Masonic scenery collection in 2014.

I intimately knew the condition of each drop in 2014, but I didn’t know the condition of the drops after excessive handling by city employees. If the tubes were slid out of the storage rack, the painted surface would have been extensively damaged. No one would know the condition of each painted scene until that tube was unrolled on site. The scene could look like the Shroud of Turin.

Example of water damage when the City of Winona’s Masonic backdrop collection went into storage during August of 2014.
Dry pigment that was coming off of the historic scenery at the Winona Masonic Theatre backdrop collection before it was placed into storage during 2014.

Regardless, the drops could be the perfect pairing for a few Scottish Rite Valleys with similar collections, so I entered the bidding on behalf of a client in November. No matter how much I wanted the collection to go to a good home, I couldn’t recommend that my client spend more that $10,000 for the remaining scenes in any case. We withdrew from bidding at $10,000, and the auction ended at $10,010. And yes, the online auction also used the 2010 photos from my assessment, misrepresenting the condition of the collection to those who bought it.

The new owners contacted me and I simply felt bad for them as they had no idea what they had purchased, or the extensive work that would be required prior to hang it. And the Winona collection, the most complete set of Masonic scenery that I have ever encountered in the country was forever split. It is no longer is the perfect example of what theatrical manufacturers marketed to Freemasons. As it went out the doors and made its journey south, I just felt bad and wondered how many of the drops would end up in the dumpster at the end of the day. I cannot express the extent of the prolonged water damage and the care that it will take to repair.

Another example of water damage when the City of Winona’s Masonic backdrop collection went into storage during August of 2014.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 13.

While Wendy Waszut-Barrett is traveling for research and art acquisitions (October 14-29, 2017) she is reposting the first fifteen installments from “Tales from a Scenic Artist and Scholar Acquiring: The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center.” Here is her thirteenth post from February 26, 2017.
 
Part 13: Getting My Hands Dirty
 
The rigging crew would later admit that no one knew what my contribution would be prior to the project, even Ty Prewitt, owner of BellaTEX. Would I sit with my camera in the auditorium slowly photographing the removal process, or would I actually get my hands dirty? It is important to understand that when I was went to Fort Scott, my directive was to solely supervise and not to help out as a “common laborer.” That was a directive by the CEO.
 
It is important to understand that throughout the duration of my career I always worked alongside my crew, never expecting anyone to perform a task that I wouldn’t do myself. I realized long ago that this type of attitude and a general willingness to get one’s hands dirty had a positive impact on any work environment. Showing great appreciation for your staff and lending a hand is such an easy thing to do and it always pays off in the long run.
My hands after an hour of handling the Fort Scott Scottish Rite scenery on site. Although I often wore gloves, not ever task could be accomplished while wearing them. Photograph by Wendy Waszut-Barrett, November 2015.
In addition to this instilled work ethic, I was raised to conquer obstacles and take pride in my work. Therefore, when I encountered the thick layer of contaminants coating the scenery and set pieces, I couldn’t ignore it.
Removing loose contaminants on Pepper’s Ghost unit in Fort Scott, Kansas, at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett from November 2015.
Removing loose contaminants from the backside of a drop in Fort Scott, Kansas, at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett from November 2015.
Removing loose contaminants from the backside of a drop in Fort Scott, Kansas, at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett from November 2015.
It is possible that others would have ignored the dirt, rolled the drops, shipped them, and dealt with the consequences later. That was not an option for me, so I tackled this initial obstacle, knowing that it would add many hours onto the project in Fort Scott.
 
We covered both the stage floor and auditorium floor with heavy duty plastic to catch the majority of the dirt that fell off of the drop as it was lowered to the floor and stripped of both battens and hardware. I purchased both dry mops and wet mops to clean the plastic as often as possible so that dirt from one backdrop, wouldn’t contaminate another backdrop. We also occasionally replaced the plastic sheeting.
 
Then, the drop was placed on the auditorium floor face down. I used my handy Festool dust extractor to remove the majority of loose contaminants with its special HEPA filter. The drop was then flipped face up so that I could vacuum the loose particulates from the painted surface. This initial cleaning was to protect the painted surface during shipping and limit the amount of airborne particles in the space on site.
 
Dirt and pigment would continue to dust off during the rolling and transportation, necessitating additional vacuuming and extensive cleaning with archival sponges before any necessary repairs or restoration could take place. The vacuuming for each drop in no way made the surface either completely clean or free of contaminants. After vacuuming both sides, it took four of us crawling across the floor on our knees to loosely roll the 24’x36’ long drop. This loose roll meant it could be carried down the winding staircase to the first floor where it would then wait to be rolled onto 25’ cardboard tubes.
 
The drops couldn’t be rolled immediately after vacuuming on the second floor as the winding staircase could not accommodate a 25’ rigid tube. This was the process prior to rolling, wrapping, and loading each drop onto our shipping truck. Multiply this procedure ninety-two times.
 
The need for any additional cleaning prior to restoration was a point of contention with the CEO as I had already vacuumed each drop in Fort Scott. Even after several conversations, I could not convince him that this initial cleaning was not sufficient. Nor would he believe that the drops had to be stabilized or any repairs made prior to hanging. It was impossible to convince him that the dusting pigments and other surface contaminates were dangerous to both the performers on stage and the audience members alike.
 
When I saw the drops hanging at the Minnesota Masonic Heritage center during February 2017, there were still sections of the original netting attached to the drops and contaminants were visible. My heart sank as I wondered if anyone had ever been told of the dangers that I described to the CEO and the general director.
 
To be continued…

Tales from a Scenic Artist and Scholar. Part 114 – Handling Historic Scenery

I recently came across a debate that concerned the refinishing of antique furniture. There were a series of online discussions started by individuals who wanted to give antiques a more contemporary “feel” for upscale residential homes. The debate ensued as this was going against all advice given by the “Antiques Roadshow” experts. How many times have your heard, “Don’t strip and refinish that antique? Below is one of many statements concerning the proper handling of antique artifacts.

“Never Paint or Refinish Furniture

You should not refinish wood furniture is if the piece is a valuable antique or a unique designer piece that, although not an antique, nevertheless has a lot of value. It’s always a good idea to look for any designer markings on old furniture and to do an Internet search on it before you refinish it. An antique will diminish in value if refinished improperly, and your best bet is to contact a professional in antique furniture preservation.”

Wow. I immediately thought of the destruction of the Fort Scott collection and a subsequent loss of shared heritage. This above statement could be rewritten to apply to historical scenery collections:

“Never Paint or Refinish Historical Scenery

You should not remove the original wooden battens and replace them with pipe pockets is if the scenery collection is a valuable example of theatrical heritage or the work of a significant designer. It is always a good idea to look for any scenic studio stencils and documentation, as well as doing an Internet search on it before you alter it from its original condition. An historical drop will diminish in value and significance if restored improperly, and your best bet is to contact a professional in the field of scenery preservation.”

The Fort Scott collection was significant from the fact that its production occurred during the final Scottish Rite building boom and was solely produced by one scenic artist. As the Fort Scott collection can no longer be viewed in its intended venue, the historical significance solely remained in the original construction, painting, and stage hardware. As the majority of these significant aspects have been stripped away, it has lost much of its significance. All that remains is the preservation of historic painting techniques by one artist. It can no longer be presented as a nationally significant collection as it almost been altered beyond recognition.

Painting an antique Chippendale chair white.
The final white chair, a shadow of its former self.

It is like a painting an original Chippendale chair and turning it into something else entirely. As with the antique chair, the Fort Scott drops are now a pale remembrance of their former selves.

To be continued…

Tales from a Scenic Artist and Scholar. Part 113 – Fire Tests on Historic Scenery

When I evaluated the Milwaukee Scottish Rite Collection, I encountered tags noting that it had been flame proofed and tested in 1995.

Tag that notes 1995 Flameproofing of scenery in Milwaukee, Wisconsin, at the Scottish Rite theater. Photograph by Wendy Waszut-Barrett.
Flameproofing tag from 1948 on Pasadena Scottish Rite scenery. Photograph by Wendy Waszut-Barrett.

There were burn marks on many of the stage right sides of the drops. The holes were about eighteen inches up from the stage floor and the size of a dime.

One of the holes resulting from fire testing at the Milwaukee Scottish Rite. Photograph by Wendy Waszut-Barrett.

This has been a continued battle for decades as Scottish Rites become public rental facilities and cannot rove that the scenery was originally flame proofed. In some regions, a Fire Marshall will insist that the historic scenery get sprayed with a flame retardant.

I understand that fire codes exist for a reason. There is the need to implement safety regulations to protect both the audience and performers. However, I have observed that the application of todays flame retardant on dry pigment scenery alters the painted surface. Cracks appear and the color begins to flake off.

Example of how some dry pigment scenery reacts to current fire retardants. Photograph by Wendy Waszut-Barrett.

This is an area of study that I have been waiting for an opportunity to explore. A series of test really needs to occur before another collection is sprayed and possibly destroyed. The Minnesota Masonic Heritage Center May 5, 2017 online article notes that a solution of fire retardant was applied to the drops. I wondered about the product that was used and if it will interact with the dry pigment over time.

In Fort Scott, the idea of applying a flame proofing formula to this collection greatly concerned me and I knew that it would have to be addressed at some point prior to hanging the collection. As the Minnesota Masonic Heritage Center was a new public performance space, the facility would have to follow current fire codes. While on site in Fort Scott, the crew and I decided to do a fire test on remnants that had come off one of the sky borders. We were all curious to see how quickly the fabric would ignite if exposed to flame.

We went to the parking lot across the street from the Fort Scott Scottish Rite. All of us believed that the old and dry fabric would immediately burst into flames. We lit the corner of our sample on fire and it took quite a while before the fabric began to ignite. Then the flame lessened and within seconds died out, leaving only a burnt edge on our sample. We all looked at each other in surprise and then someone said, “Do it again!” We repeatedly lit our small piece of fabric to see if it could stay lit. Each time the flame was extinguished within a few seconds. We could not successfully light this piece of fabric that was over ninety years old! I was thrilled as the test both proved that the scenery had been originally treated with flame retardant and that it was still working.

Sample of Fort Scott Scottish Rite scenery flame test in 2015. Photograph by Wendy Waszut-Barrett.

Now would this hold up to today’s safety standards? Possibly not, unless an argument could be made that the flame retardant would irreparably damage the painted surface of this historical artifact. The fact that the drop didn’t burn certainly says something about the effectiveness and longevity of the traditional techniques. Once again, I was flabbergasted by how well these painted scenes survived the test of time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 90 – Adding Pipe Pockets to Historic Scenery is a Bad Idea

Over time, the St. Louis Scottish Rite collection was altered to solve the problem of warping boards that were rubbing. This was the same approach used by the Minnesota Masonic Heritage Center as they made the argument in the May 5 online article, “After a great deal of deliberation, the rigging experts and the team decided to hang the historic drops using a modern webbing and pipe pocket configuration instead of the wooden battens. The approach would also allow for less stress to the drops, as the lightweight conduit in the pipe pockets would not weigh as heavily on their aging muslin.”

If the pipe is too light, it will not pull out the wrinkles and the scenery looks a fright.

Fort Scott scene forest leg drop irreparably altered by Kim Lawler and Mia Schillace-Nelson for Minnesota Masonic Heritage Center. Original wooden batten was replaced with a pipe pocket, resulting in unsightly sags and bunching of the fabric.

Wooden battens remain the perfect solution as the weight remains evenly distributed along the bottom edge as the battens “clamp” the fabric and not pierce it. It is never a good decision to replace the wooden battens with pipe pockets. Warping boards are a common situation that is easily remedied; the order of the boards is swapped.

The Valley of St. Louis also encountered warping battens and selected to install pipe pockets during the 1970s. The pipe pockets that replaced the wooden battens failed, causing pipes to plummet to the stage floor. New pipe pockets were sewn onto the bottom and they also failed. The St. Louis Scottish Rite collection is one example and proof that attaching jute webbing and pipe pockets to historic scenery doesn’t work at all. Similarly to the Minnesota Masonic Heritage Center, the Valley of St. Louis used thin conduit and reinforced the seams. Both failed. This has happened across the country as the battens are viewed as a liability and not an integral part of the original system, necessary for the longevity of each piece.

At the St. Louis Scottish Rite, approximately twenty-five percent of all the scenery was compromised and unable to be lowered to the stage floor. As the pipes were removed from ripping pockets, the loose curtains caught on neighboring lines being raised and lowered. Fortunately for me, there were a variety of rigging experts on hand during the USITT convention to offer advice and a helping hand.

Paul Sannerud untangling drops at the St. Louis Scottish Rite. Note how the pipe pocket (that replaced the original wooden batten) ripped off of the bottom of the drop. The loose fabric now catches on neighboring scenes.
Untangling drops at the St. Louis Scottish Rite. Note how the backdrop is missing a section as a result of loose fabric that caught on a neighboring line and ripped off.

When drops are narrowly spaced on 2-inch to 4-inch centers, the weight of a wooden batten that is clamped to the top and bottom of each scene is an essential part of the counterweight system. It is the perfect weight to safely pull out the wrinkles and effectively stretch the painted fabric. If wrinkles are visible, as it the case with the Fort Scott collection, the drops are not stretched because the weight at the bottom is too light. Insufficient weight promotes wrinkles and the drops are more likely to catch on neighboring lines.

Jute webbing also increases the likelihood of the fabric catching on a neighboring line as the top wooden batten no longer stretches the fabric taut and straight. On the top, jute webbing with grommets and tie lines were sewn along the edge of the thin old fabric. The May 5 MMHC online article also states “Rather than position them the standard 12 inches apart, grommets are placed six inch apart in the webbing to better distribute the hanging stress across the top.” It is not only about the stress and the placement of grommets. Tie lines running though the grommets and attaching the drop to a pipe have a tendency to shift over time causing the fabric to slightly bunch – like a shower curtain.

This problem was visible during the Singers in Accord Concert at the Minnesota Masonic Heritage Center during February 2017. Unlike ties lines and jute webbing, top wooden battens prevent any shifting from occurring. With wooden battens on the tops and the bottoms of each drop, it is impossible for the fabric to “bunch” and catch on neighboring lines.

The top wooden battens were replaced with jute webbing at the top of this Fort Scott leg drop by Kim Lawler and Mia Schillace-Nelson for the Minnesota Masonic Heritage Center. Note how the jute webbing allows the fabric to “bunch.” This is a common result and one reason why jute webbing and pipe pockets should not replace wooden battens on historical scenery.

A final point has to do with the bigger picture and the preservation of heritage. When pipe pockets and jute webbing replace the original wooden battens, the heritage is lost and the ability to appropriately display these artworks destroyed. We are no longer looking at a historic artifact. In the long run, it would have been cost-effective to digitally photograph each drop and hang printed replicas on new muslin instead of irreparably damaging the original artifacts. I compare the MMHC decision and the subsequent destruction of the Fort Scott scenery collection to the repurposing of any antique. The difference is that this was not a craft project that took an old book and transformed it into a keepsake box. The painted scenes now only remain as a shadow of history, failing to preserve any heritage.

An example of an old book being repurposed into a keepsake box.

This erasure of history at the Minnesota Masonic Heritage Center brings to mind the song “Every Day a Little Death” from “A Little Night Music.” As each drop is forever altered and history lost, there is a “little sting” in my heart and in my head.

“Every day a little sting
In the heart and in the head
Every move and every breath
And you hardly feel a thing
Brings a perfect little death”

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 87.

They Say it’s Only a Paper Moon Hanging Over a Muslin Sea
 
Why was the Fort Scott scenery collection viewed as mere backings for performances and not as an art form with cultural value? Are Scottish Rite scenery collections just “old backdrops” or “large-scale works of art produced by nationally recognized artists?” This question was my incentive to tell my story about the Fort Scott scenery collection. Scottish Rite drops are historically significant artifacts that demand proper conservation, handling, and display.
Painted detail from Wichita Scottish Rite. Photograph by Waszut-Barrett, 2009.
It is apparent that the Minnesota Masonic Charities CEO and the Minnesota Masonic Heritage Center general director have repeatedly devalued the Fort Scott collection, suggesting that they are merely backings to be enjoyed in the here and now; that they have not been preserved as a legacy for future generations to enjoy – just this generation.
Painted detail from Austin Scottish Rite. Photograph by Waszut-Barrett, 2016.
 
On May 5, the online article author noted that the restoration team did not treat the scenery as museum “artifacts.” Their restoration process primarily focused on a final outcome that allowed each drop to be immediately “hung and enjoyed.” In other words, this justifies the removal of wooden battens, the alteration of the drops, and the use of inappropriate materials such as hot melt glue during restoration. The use of wooden battens not only serves a practical function to remove the surface wrinkles, but also is a recognized part of Scottish Rite heritage. The collection now imitates modern scenery collections and has lost much of its heritage other than the painted surfaces.
Painted detail from Milwaukee Scottish Rite. Photograph by Waszut-Barrett.
What I find deeply troubling is that the author implies that the restoration team avoided a preservation approach reserved for museum artifacts when handling the scenes, as that would be a detriment to the overall use of the collection. Why? The acquisition for the Ives Theater was intended to be an extension of the Ladd museum. Why should the drops receive any less care than a Shriner’s Fez in the museum? I suggest that this is a defense for not hiring professionals who would know how to properly preserve the collection and consequently damaged the drops.
 
It is possible that the leadership of Minnesota Masonic Charities and the Minnesota Masonic Heritage Center fails to realize the significance of their acquisition or that they are now stewards of a large-scale art collection created by the nationally recognized artist Thomas Gibbs Moses. Unless the Freemasons and the general public understand the national and international significance of the Fort Scott collection, it will forever remain known as the old backdrops that were purchased from Fort Scott, quickly hung to enjoy, used without supervision by rental groups, and slowly destroyed.
 
Proper conservation and handling still allows you to use and enjoy historical scenery. The May 5 article is a defense against the accusations in my blog concerning their use of hot melt glue on historically significant artifacts by a team of amateurs. That restoration team, whom the author hails as experts who “ensured the absolute integrity of the project,” neither restored each scene to its original beauty nor extended its lifespan.
Painted detail from Austin Scottish Rite. Photograph by Waszut-Barrett, 2016.
This collection was purchased as a museum acquisition for a heritage center, unlike other Scottish Rite collections across the country that were solely purchased for private use by the membership. Any other continuing attempt to devalue the painted scenes is a discredit to the Fraternity.
 
To be continued…

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 83.

Scenery Restoration is Dirty Business

The Minnesota Masonic Heritage Center’s “Behind the Scenes” article discusses the “91-year lifespan” of the Fort Scott’s scenery. The author then attributes another age to the collection mentioning a “century of soot.” Both ages are incorrect. All of the Fort Scott drops, except two scenes, will turn 93 years old this Fall. How do we know when Thomas Moses painted the scenes? The artist records the information in his typed manuscript.
In regard to the “century of soot” that needed to be removed from the Fort Scott drops, the author details the cleaning process writing: “Team members remove a century of soot by hand using special dry-chemical sponges. They make several passes until the black soot is gone and traces of pigment are visible on the sponge. Care must be taken not to remove too much pigment.” This statement greatly concerns me as pigment will either immediately lift or not lift at all.

Cleaning picture posted in the May 5, 2017 Minnesota Masonic Heritage Center article “Behind the Scenes.” Note that there is color on the sponges. This means that the pigment was lifting and sponges should not have been used at all.

Pigment is not gradually removed from a backdrop. If the binder is still working the paint sticks to the fabric and these gentle archival sponges will not remove the color. Sponges can only remove the pigment if it is already loose and at that point you should not use dry-chemical sponges. Instead, you use an archival putty to carefully “dab away” the dirt. The occasional need for putty instead of sponges is also why Lance Brockman prefers to use bread dough; it immediately picks up the dirt and doesn’t mix the contaminants into the loose pigment. For me, Absorene archival sponges and putty are my preferred alternative as they are easier to ship, transport, and store.

St. Louis product that I prefer to clean scenery with when the dry pigment is not dusting.
St. Louis product that I prefer to use when the dry pigment is dusting.

But let us examine the dry-chemical sponge used by the restoration crew and cited by the author in the article. The Minnesota Masonic Heritage Center website links us to the “dry-chemical sponges” website. The website links to a preservation company in Norfolk, England. This really surprised me as I always purchase my archival sponges from St. Louis, Missouri. A low-end substitute can also be found in many paint stores. Why purchase a foreign product, especially after ten cases had been ordered for the Fort Scott scenery restoration from St. Louis during the spring of 2016?

Foreign product ordered by the Minnesota Masonic Heritage Center for the scenery cleaning. I use the similar product manufactured in America.

On April 20, 2016 I sent the following email to the general director of the Minnesota Masonic Heritage Center:
“Please order ten cases of the following below (Absorene dry cleaning soot sponge) for the first two phases of drop restoration this spring and summer. Thank you.

Product to Order: Dry Cleaning Soot Sponge #016 (10 cases)
3/4″ x 3″ x 6″ Unwrapped, Bulk Packed, 120 Per Case (order ten cases) Absorene Manufacturing Company, Inc. www.absorene.com 2141 Cass Avenue, St Louis, MO 63106 314-231-6355 Fax 314-231-4028 Pricing is quoted by quantity ordered. Companies, please email or fax us on your company letterhead your request for price quotes. customerservice@absorene.com or Fax: 314-231-4028”

I began to wonder if the current restoration team had used any of the products that I ordered and what had actually happened to that particular investment by Minnesota Freemasons. I then looked at the picture of the dirty sponges in the online article and started to wonder how well the drops had been cleaned, and if the backsides had been cleaned at all. In Fort Scott the surface contaminants had been a combination of mortar dust, bat guano, pigeon droppings, flash powder, oil and coal heat residue, cigar smoke, and a variety of unknown substances – not to mention the dusting pigment. The back of each Fort Scott drop had a visible layer of contaminants and was much blacker than the standard mid-gray hue, common to scenery restoration.

As previously explained (installment #13 – Getting My Hands Dirty), to minimize the airborne spread of these contaminants on site in Fort Scott, I had vacuumed both the front and backside of each drop prior to rolling for shipping. After completing a low-suction dust extraction, I then tested the remaining layers of filth to determine the later cleaning process that would be required during restoration. My Fort Scott tests involved spot testing areas with dry chemical-sponges on various scenes to identify the “problem children” of the collection. The resulting contaminants for every drop remained coal black on the dry-chemical sponge. I envisioned the need for multiple passes with low-suction dust extraction prior to using any sponge during restoration cleaning.

Waszut-Barrett vacuuming the loose surface contaminants from scenery while onsite in Fort Scott, Kansas. This was done prior to shipping to prevent dirt from embedding into the painted surface during transportation.
Dirty dry-chemical sponge used onsite at the Fort Scott Scottish Rite by Waszut-Barrett to “spot test” the painted scenery collection. This was done to anticipate the cleaning process during the later restoration. Unfortunately, someone else (without this first-hand knowledge) later cleaned the scenery.

The use of dry-chemical sponges during a final cleaning process brightens the painted surface. People love the instant gratification of a lighter composition in contrast with the original filthy one. That being said, it is even more important to remove the contaminants on the backside of each drop as they pose the greatest health hazard. People often don’t realize that it is the back of a drop that holds the most dirt. The backside contains environmental contaminants embedded in the raw fabric– often a greater health hazard than any dusting pigments. These same contaminants do not settle as easily on the painted surface as it is sealed. In other words, the painted fabric does not have the same “tooth” of raw fabric to facilitate the settling of contaminants.

For the sake of future performers on the Ives stage, I hope that the back of each scene was cleaned extremely well by the “restoration crew” as young performers, the elderly, and those with compromised immune systems are the most at risk.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery Collection for the Minnesota Masonic Heritage Center, part 81.

Masquerade, Paper Faces on Parade

The Minnesota Masonic Heritage Center “Behind the Scenes” article notes that the restoration crew spent hours organizing the Fort Scott scenery prior to restoring and installing the scenes. Eighteen months earlier, I had already completed the organization of the Fort Scott collection, determining the necessary alterations and creating a book that outlined my plans for the impending restoration and installation. The online article now credits all of this work to Kimber Lawler and Mia Schillace-Nelson in the article section, “Trimming.”

The article’s author writes,
“The team first lays out each scene in its original configuration – one on top of the other – to find the best line for trimming the drops to fit the Ives stage and rigging system. Trimming work is slow and meticulous so that the scene remains in proportion and hangs properly.”

First, I will clarify what “trimming” means to those unversed in technical theatre jargon. A set is “trimmed” when it has been placed in the desired position within the performance area. The online article misleads the reader, crediting Lawler and Schillace-Nelson with the difficult task of determining the Fort Scott scenery order for the Ives Theater.

I determined the placement of each Fort Scott drop for the Ives stage during December 2015. This information was published in a book that I distributed to the Minnesota Masonic Charities staff, the Minnesota Masonic Heritage Center staff, and the theatre consulting firm in January 2016. I then shared my personal copy with the Grand Lodge Secretary so that he could peruse our great find after realizing that he was unfamiliar with my work.

A page from the Fort Scott scenery books that shows the new organization of scenery for the Ives theatre. Created by Waszut-Barrett in December 2015 and distributed to Minnesota Masonic Charities and Minnesota Masonic Heritage Center staff members in January 2016.
A page from the Fort Scott scenery books that shows the new organization of scenery for the Ives theatre. Created by Waszut-Barrett in December 2015 and distributed to Minnesota Masonic Charities and Minnesota Masonic Heritage Center staff members in January 2016.
A page from the Fort Scott scenery books that shows the new organization of scenery for the Ives theatre. Created by Waszut-Barrett in December 2015 and distributed to Minnesota Masonic Charities and Minnesota Masonic Heritage Center staff members in January 2016.

I also created other documents pertaining to the collection for future use in constructing the restoration timeline, ordering necessary materials, and planning alterations for each drop. These secondary documents included information requested by our theatre consulting firm, such as specific drop order and my estimated weight load for each line to order the necessary counterweights. The continued use of information from my documents was even noted by the MMHC general director during communications with Singers in Accord Concert representatives when he stated, “Don’t worry, we’re still using Wendy’s drop order!”

To understand the overall absurdity of what is presented in the online article, one must understand the process necessary to alter and install a Scottish Rite collection created for a different Masonic venue. The process is much more than laying out one drop on top of another to plan the placement of used scenery in a new venue as the online article suggests.

Each drop in a scene needs to be individually lit as it was for the original venue, or great shadows will be cast on the upstage drops (those farthest away from the audience). The theatre consultant and I closely worked out the initial placement of drops and lights within the new rigging system designed by Dan Culhane, current president of USITT, during December 2014 – well before we acquired an historical scenery collection. Our final 2015 plans took into account the complete lighting of each drop in every painted scene. Ideally, portable strip lights would light the lower portion of each scene too.

The December 2014 organization of an anticipated historical scenery collection with a new version of a Scottish Rite rigging system. Almost all Scottish Rite theaters have rigging systems with lines on 2″-4″ centers. Dan Culhane designed a new system to replicate an old system of dedicated lines in a traditional counterweight system.

There was a second consideration for the organization of the Fort Scott collection as it was primarily purchased for Masonic degree work. Degree work takes place on both the stage and the auditorium floor. Each degree requires a certain amount of stage depth and not all productions are consistent. You have to understand what each degree requires to anticipate the necessary floor work and stage work. Remember, as the CEO repeatedly explained to his team that both of the Scottish Rite Valleys would leave their current homes, combine to form one Valley, and rent space in the Ives auditorium for their degrees. This is also why the apron of the stage can be lowered to floor level and the first two rows of auditorium seating removed – to accommodate degree work.

A page from the Fort Scott scenery books that shows the cathedral scene with corresponding drops. Created by Waszut-Barrett in December 2015 and distributed to Minnesota Masonic Charities and Minnesota Masonic Heritage Center staff members in January 2016.

I was familiar with the degree work for both the Minneapolis and St. Paul Valleys and determined what scenes to use and where to place each scene in the Ives theatre. Although the scenery was coming from another Southern Jurisdiction Scottish Rite Valley, there are numerous regional discrepancies that need to be taken into account in the selection and placement of individual compositions. For me, this was the most difficult task in re-configuring the drop collection for a new space. Additionally, the project drew on years of independent research pertaining to the theatrical interpretation of Scottish Rite degrees and the recent ritual revisions.

The December 2014 organization of an anticipated historical scenery collection with a new version of a Scottish Rite rigging system. Almost all Scottish Rite theaters have rigging systems with lines on 2″-4″ centers. Dan Culhane designed a new system to replicate and old system of dedicated lines in a traditional counterweight system.

If the current restoration crew did all of this same work again, Minnesota Freemasons paid for the same work twice.

There is another aspect to consider, one that looks at the bigger picture and identifies those who take credit for another’s work or erase the contributions of others. Unfortunately, Minnesota Masonic Charities and the Minnesota Masonic Heritage Center have recently fallen into the pattern of misleading the public, specifically misrepresenting the contributions of those who were involved with the planning and construction of this center.

I believe that this pattern of behavior will cause the general public to not trust the intentions or statements of the Fraternity. It could also have an affect on all other Masonic activities, especially charitable contributions in the future. If an organization perpetuates falsehoods about something as simple as scholarly contributions, are they truthful about their financial disclosures?

If this solely concerned my work, I might consider it a personal vendetta against me. However, the contributions of other nationally recognized experts have now been erased from the Minnesota Masonic Heritage Center’s institutional history. One example is the written contributions for the Ladd Museum produced by Arturo de Hoyos, Grand Archivist and Historian of the Supreme Council in Washington D.C. Many of his original writings are now attributed to a Minnesota Masonic Charities staff member who is listed as the sole museum exhibit writer (see past installment 52).

Why is De Hoyos not credited for his contributions? Why am I not credited for my contributions? Why take such pains to hide the truth regarding who did the work? This practice appears to be the antithesis of Masonic principles, yet it continues without any reprimand or oversight.

To be continued…

Here is the link to the Minnesota Masonic Heritage Center “Behind the Scenes” article in its entirety: http://www.masonicheritagecenter.org/…/05/behind-the-scenes/

Tales from a Scenic Artist and Scholar. Acquiring the Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 80.

A Digital Wake
 
There is something magical and terrifying about having a digital wake in the Internet stream. People can track your entire life’s journey from birth to death, especially since Social Media has spiraled out of control. We see both accomplishments and failures of most individuals. For the historian, the genealogist, the scholar, and others, this scenario is a dream come true. Scanned newspaper articles and many other publications facilitate my research concerning paint companies, theatre productions, and Masonic activities from the nineteenth and twentieth centuries.
 
I am able to track scenic artists in census records, immigration documents, birth certificates, public announcements, and more. Every month, more and more information is uploaded and individuals are pushed into a river of data that will slowly swirl downstream into a permanent lake of documentation.
 
I have always been very aware of my online identity and knew it could not be easily erased. Be careful of what you say, as there is always a line of people ready to point out the falsehood that you shouted from your Facebook soapbox. Every once in a while, I search my own name, as I am curious to see what pops up. Am I leaving a good wake behind me? I honestly want my digital contribution to be something that I am extremely proud of in the coming decades.
 
In a Google search for “Waszut-Barrett,” all of my scenery restorations immediately pop up for all to see. They are found in the form of Masonic publications, websites, newspaper articles, and a plethora of other public forums. If you do scenery restoration, you can’t hide your work, whether it is good or bad.
 
For those of us who specialize in scenery restoration, we understand one thing: people find it fascinating, especially the press. The individual or venue that hires someone to restore their painted scenery always wants good media coverage. It supports their cause and spurs community support. There has not been a single restoration project on which I worked where a reporter didn’t show up within the first week.
 
Just think about this digital wake as I wind back to the May 5, 2017 Minnesota Masonic Heritage Center website article that presented their current restoration team.
 
The article states, “Lead Scenic Artist, Kimberly L. Lawler, was brought in to assess, stabilize, repair and install the collection. Her 30 years of experience creating and restoring theatre sets and scenes ensured the absolute integrity of the project.”
 
Botched restoration at Minnesota Masonic Heritage Center due to application of hot melt glue that irreparably damaged the scenery. These are the two that lead the project.
Where is the digital wake validating 30 years experience restoring scenery?
 
To be continued…