Scottish Rite Scenery – Page 17

Travels of a Scenic Artist and Scholar: The Joplin Scottish Rite, July 2

The Joplin Scottish Rite, July 2

I arrived at the Joplin Scottish Rite by 8:15am. We examined all of the backdrops over the next four hours, with Andrew and the Secretary Richard Lowery handling the lines. Richard worked tirelessly with my husband to raise and lower the lines while I catalogued each drop, photographed painted details, and set entire scenes. To show our appreciation, we took Richard out to lunch at a fabulous local restaurant – the Red Onion.

At the Joplin Scottish Rite, I was like a kid in a candy store, as I uncovered a new scenic studio stencil – The Fabric Studio.

*A Fabric Studio of Chicago stencil, placed on the backside of some Scottish Rite backdrops in Joplin, Missouri.*

*Another Fabric Studio of Chicago stencil, placed on the backside of some Scottish Rite backdrops in Joplin, Missouri.*

It will take many more hours to untangle the compilation of various installations, only some attributed to the Fabric Studio, after closely examining the backdrops in context. The majority of scenery contain a studio stamp for Fabric Studio of Chicago, located at 117 N. State, 4^th floor, Chicago, Illinois. However, the drops were not all produced at the same time or for the same venue. One distinguishing characteristic of many backdrops is the horizontal seams on octagonal-shaped sandwich bottom battens. They are a distinct departure from late-nineteenth century oval battens.

The earliest mention of the Fabric Studio that I have located to date is in 1921; the company was advertising for girls to help in the sewing room (Chicago Tribune, 27 August 1921, page 14). From all appearances, this was second generation scenic studio, like many that emerged during the twenties when scenic artists left the employ of the larger, companies to strike it out on their own. They began competing with the older studios and offering a new aesthetic. The Fabric Studio was a competitor to the Kansas City Scenic Co., of Kansas City. In 1922, the Wellington Daily News reported that two scenery salesman were competing for the contract of a new front curtain and the scenery for the new Memorial Auditorium project: E. L. Gossage of Kansas City Scenic Co. and W. S. Mayer of the Fabric Studios of Chicago (Wellington, Kansas, 25 August 1922, page 1). Gossage would later be the salesman for the Great Western Stage Equipment Company of Kansas City.

The Fabric Studio of Chicago is credited with the painted scenery for the 1922 Orpheum Theatre in Wichita, Kansas. The Wichita Eagle (3 September 1922, page 48) reported the Fabric Studio’s work as including the original asbestos curtain depicting a gold gauze curtain with an exterior garden scene, a Spanish market scene; a silk velour for the valance; a grand drapery; a silver gauze tableaux curtain; a picture sheet; “two exterior oleos and drops;” a complete conservatory set; and a complete Gothic set.

*Head artist for the Fabric Studio of Chicago – P. T. Blackburn, published in the “Daily Times” (Davenport 17 May 1922, page 10).*

The chief artist to the Fabric Studios of Chicago was P. T. Blackburn who worked mostly on the fine plushes, satins, and velours, such as the gold gauze front curtain and the silver gauze tableaux curtain for the Orpheum.

*The new Wichita Orpheum, from the “Wichita Beacon” (3 Sept, 1923, page 27)*

*The front gold gauze curtain produced by the Fabric Studio of Chicago for the Orpheum Theater in Wichita, Kansas.*

*A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

*Detail of painted fabric. A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

*A detail of the painted fabric. A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

By 1949, Blackburn would become the head artist for Paramount Studios and a weekend resident of the San Jacinto mountain resort area (The Desert Sun, Palm Springs, California, 17 May 1949, page 4). In addition to scenic art, he and his department also developed new stage equipment and curtain tracks for scenery painted by Paramount artists.

This explains the exceptional hand-painted silk curtains in the practical opening of some Joplin Scottish Rite scenes. Blackburn was the head of the artistic staff for several stock companies over the years, including the Grand Players from Davenport, Iowa.Another artist on staff at the Fabric Studios was Max Schroeder, who specialized in landscapes. The Fabric Studio’s head installation expert was J. A. Bannon, credited as “an old timer in the show business and has installed scenery in theaters in nearly every city in the United States” (Wichita Daily Eagle, 3 September 1922, page 48).

There is more to report about this unique collection and its current condition, but that will be saved for tomorrow.

To be continued…

Travels of a Scenic Artist and Scholar: The Salina Scottish Rite Stage, on June 30

The Salina Scottish Rite Stage, on June 30

The Masonic Center with Scottish Rite stage in Salina, Kansas

I am aware of two instances where Masonic buildings with historic stages were not sold, but almost given away. In the case of Fort Scott, the building was “sold” for $1. I learned yesterday that the Salina Masonic Temple was “sold” for $10. In both cases, there was an attempt to preserve the structure and adapt it to a current use for organizations that were not part of the Fraternity.

Exterior of Scottish Rite Building in Fort Scott, Kansas, 2015.

The Scottish Rite stage in Fort Scott, before the scenery collection was transported out of state.

It is easy to feel sympathy for the generations of Masons who poured their hearts, souls and finances into a building and organization that would suddenly evaporate before their eyes. In Fort Scott, all of the contents were sold at an auction for a total of $75,000, liquidating their assets that included a mummy, 200 swords, porcelain dishes, and hundreds of vintage props and costumes. The Fort Scott Scottish Rite has not ceased to exist, but now meets in a small facility in Pittsburgh, Kansas.

What I have started to understand about many of the Scottish Rite buildings is that during times of plenty, the Scottish Rite did not reinvest in their homes, completing the necessary maintenance and repairs. Over time, deferred maintenance took its toll on both the physical structure and the membership. In addition to poor choices in regard to the basic upkeep of the buildings, membership declined and the constant stream of income began to diminish.

At the beginning of the twenty-first century, a new group also rose to power – leading the vision for the future of their edifices – Temple building associations and foundations. In addition to declining membership and structural issues with their facilities, the financial wellbeing was also at risk. The funds necessary to address the deferred maintenance were embezzled. This happened in Salina last year when the treasurer of the Salina Building Foundation was accused of theft and embezzlement from the organization.

I first read about the crime in newspapers while researching Scottish rite theaters that were listed for sale. On May 2, 2017, one Mason commented on Chris Hodapp’s Freemasonry for Dummies blogspot (http://freemasonsfordummies.blogspot.com/2017/05/salina-kansas-masonic-temple-treasurer.html): “Unfortunately, this is much more common that many masons believe. We tend to hide such crimes from public and fraternal view, yet rarely require proper safeguards. I have personally been involved in two similar cases (both of which involved larger amounts of thief).”

Over the past two years, I repeatedly encountered cases of large theft across the country that involved all extensions of Freemasonry – and these were the cases that were discovered and reported in local newspapers; this is likely a small percentage of what is actually happening. The above quote was a standard response by many men, whether in regard to a Grand Lodge, Scottish Rite, DeMolay, Shrine, Masonic Charities or other fraternal group.

As memberships lose the last remaining vestiges of financial security and physical homes, there is anger. The membership is frustrated and many begin to walk away, further depleting the membership ad discouraging those who stay.

The Santa Fe Scottish Rite was in a similar position when one individual rose to power, completely ignored the membership, and placed the building on the market. It took a dedicated group of men who worked tirelessly to get their building back. The common argument that is used by Masonic leadership is that their massive Masonic facility is “too expensive.” Often the need for a skilled marketing director is not employed – a must to bring in the necessary income to pay for all of the deferred maintenance. The future of the building is placed in the hands of a select few who often put their own interests ahead of the membership and the Fraternity. Valuable books and rare artifacts begin to disappear from Masonic libraries and collections before a building is sold. I refer to this as the vultures descending Police reports are not filed as it may portray the organization in a negative light. Members who try to come forward are bullied and threatened.

The Fraternity is at a crossroads and I have to wonder who will be the men who step up and save their heritage, as those dedicated men in Santa Fe.

To be continued…

Travels of a Scenic Artist and Scholar: Making My Way to Salina, Kansas, on June 29

Making My Way to Salina, Kansas, on June 29

As I planned our return trip from Santa Fe, I wanted to visit the Scottish Rite theater in Salina, Kansas, to meet the new steward of the Masonic Center –Mary Landes, the founder of Salina Innovation Foundation. The organization intends to keep the Masonic Center ownership local, for use by the community to foster arts, education, culinary, and business in Salina.\

Front curtain for the Salina Scottish Rite stage. Photograph from the 2010 scenery evaluation.

In 2010, I had the pleasure of evaluating the Salina scenery for the Salina Scottish Rite on one of my many trips to McAlester, Oklahoma, where I was restoring the Scottish Rite scenery there.

Looking up into the flies above the Salina Scottish Rite stage. Photograph from my 2010 visit

I wanted to see the scenery collection that was originally created for the McAlester Scottish Rite’s stage before their current 1929 home. The McAlester scenery was resold to Salina for their 1927 building. In 1922 the Salina Masons began planning a new Masonic complex that would be completed five years later.

McAlester sold the 1908 scenery to Salina when their third stage was constructed in 1929. Thomas G. Moses also listed both the 1908 and 1929 McAlester scenery in his resume as two of the installations under his supervision. In 1928, Moses created new designs and started painting the scenery for the 1929 McAlester Scottish Rite stage. An earlier scenery collection for McAlester was sold to the Santa Fe Scottish Rite in 1908 when the second Scottish Rite stage in McAlester was completed.

A photograph of the Scottish Rite scenery in McAlester, Oklahoma, 1904. This building was known as “The Tabernacle.” It’s scenery was sold to the Santa Fe Scottish Rite in 1908.

The 1908 McAlester stage replaced an earlier Masonic stage in a building called “The Tabernacle.” I photographed images of the Tabernacle stage scenery while restoring ye collection in McAlester. The Scottish Rite had several original photographs of the 1904 stage and scenery in a display case. At the time, I documented these precious photographs, as their placement in glass display cases subject to direct sunlight were taking their toll. Amazingly, I found the link between Santa Fe and McAlester while doing research for the Santa Fe Scottish Rite book. Here is a little historical context to explain the relationship between the Scottish Rite scenery collections in Santa Fe, New Mexico; McAlester, Oklahoma; and Salina, Kansas.

The Sovereign Grand Inspector General for Oklahoma until 1908 was Harper S. Cunningham. He had started out as Deputy for the Supreme Council of the Southern Jurisdiction in Indian Territory. In 1908, he transferred to Santa Fe, New Mexico. While advising on the planning and construction for the new 1912 Santa Fe Scottish Rite building, he encouraged the Santa Fe Scottish Rite to purchase the used scenery from McAlester. His reasoning was so that the members could practice the theatrical staging of degree productions during the construction phase of their 1912 theater. This is the same theater featured in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018).

In Moses’ scrapbook, he pasted a newspaper clipping about the used McAlester Scottish Rite scenery collection that was purchased by the Salina Scottish Rite in 1927. The article reported, ”The one hundred and seventeen drops of scenery that has been in use on the old stage for twenty-five years, has been sold to the Scottish Rite Bodies of Salina, Kansas, and it has been shipped to them. There was nearly a carload of it. Brother John T. Leibrand, 33°, Wise Master of South McAlester Chapter of Rose Croix, negotiated the sale to the Salina brethren who came to McAlester to inspect it. The scenery was painted by Brother Tom Moses under the direction of that great Scottish Rite Mason and student Bestor G. Brown, and was said to be the finest in the Southern Jurisdiction at the time. Brother Tom Moses is painting the scenery for our new stage settings. He is also building stage properties, and all will be the last thing in that line. The brother that does not see this great stage and these wonderful properties at our Fall Reunion will miss something. The Salina brethren are negotiating with Brother John G. Redpath, who had charge of the old stage for years, to superintend the hanging of the drops in their temple.” This used scenery collection was clearly marked with standard Sosman & Landis labeling in charcoal on both the stage right and stage left sides. The charcoal notations denote the degree; the size of 18 feet high by 36 feet wide; and the original venue as “So. McAlester.”

Before Salina purchased the 1908 collection from McAlester, they contracted Sosman & Landis to produced their original 1901 scenery. This installation was also listed on Moses’ resumé, but not recorded in his typed manuscript. I am hesitant to believe that Moses painted the 1901 Salina scenery, as he was quite busy with other projects and had left Sosman & Landis by 1901 to partner with Will Hamiton, forming Moses & Hamilton (1901-1904). The Moses & Hamilton studio offices and paint frames were all located in New York City. My research suggests that the original 1901 Salina Scottish Rite scenery was primarily painted by David Austin Strong, the Sosman & Landis artist who Moses referred to as the “Daddy of Masonic Design.” Strong was one of the original artists hired by Sosman when the studio opened and worked closely with Moses in the early years. Strong was also a Scottish Rite Mason in Chicago’s Oriental Consistory. In the context of theatre history, Strong was one of the original scenic artists for “The Black Crook” at Niblo’s Garden in 1866. Strong’s painting is still visible in scenery currently used at Scottish Rite theaters in Austin, Texas; Yankton, South Dakota; Pasadena, California; and Cheyenne, Wyoming.

One of the Scottish Rite drops in Salina, Kansas, that was originally produced for the Scottish Rite in McAlester, Oklahoma.

But the current Scottish Rite scenery in Salina, Kansas, has another story connected to the venue; one that I discovered during the 2010 evaluation. On November 13^th 1923, the Secretary of the Salina Scottish Rite received a letter from the executive offices of the Sosman & Landis Company, with a stamp noting that their new offices were now located at 6751 Sheridan Road. The letterhead also contained the address of their previous office location at 417 South Clinton Street in Chicago. In 1923, a new scenic studio was leasing the old Sosman & Landis space at 417-419 Clinton Street; the company was Chicago Studios.

In retaliation for Chicago Studios pretending to be Sosman & Landis, Perry Landis contacted many of the Scottish Rite venues 1923. The Sosman & Landis letter said,

“Dear Sir:

It has recently come to our attention that a certain studio is advising our old customers that they have bought the Sosman & Landis Company and are now operating some, combining it with their original company. We wish to assure you that this is not fact and that our original organization is intact, but our studio has been moved to new and better quarters. Mr. Thomas G. Moses, our Art Director would like the opportunity of meeting with your scenery committee to submit our designs and specifications covering your requirements. You will perhaps recall that we were favored with your original scenery order, working through the M. C. Lilley Co., and therefore, it is not necessary for us to give you any reference as to our ability and quality of our workmanship.” They were referring to the scenery created for Salina’s first Scottish Rite stage and before the purchase of the used 1908 scenery from McAlester, Oklahoma.

To be continued…

Travels of a Scenic Artist and Scholar: Preparing for the Book Release, June 23

Preparing for the Book Release, June 23

We woke up early on the morning of June 23, left the Santa Fe Scottish Rite Temple, and joined my folks for breakfast. Heat, a higher altitude, and the need to relax prompted us to take a leisurely journey south along the Turquoise Trail, driving to Sandia Peak’s cool climate. We were hoping to enjoy the cooler temperatures from the observation deck atop the Mountain. On the winding drive, we enjoyed the rock formations and a variety of picturesque scenes, passing some of my favorite towns that included Cerrillos (http://www.cerrillosnewmexico.com/) and Madrid (http://www.visitmadridnm.com/). Madrid is situated in a narrow canyon of the Ortiz Mountains. It supports a thriving artistic community. Once an historic mining town, it is now is the home for about forty shops, several art galleries, and a mining museum. The contrast of burnt orange rocks against bright blue skies is always stunning and rejuvenating for the spirit. It is emotional soul food.

Unfortunately, due to the extremely high risk for forest fires, many of the New Mexico state and national parks have closed; their picnic sites, trails, and facilities roped off. Sadly, Sandia Peak was no exception. Fortunately, the tram that runs from Albuquerque to the observation deck atop Sandia Peak was still running, so we ventured to the other side of the mountain. By 10AM we had hopped aboard the tram and ascended to a cooler climate.

A view from the tram ascending Sandia Peak

I returned to the Scottish Rite to meet with the book-release program team for the event tomorrow. We finalized the authors’ presentation, power point projections, and stage settings that would be part of the program. It was fun working with Jo Whaley again in the Scottish Rite theatre as we set scenery and lights for the program. This was all preliminary work for the technical rehearsal tomorrow morning.

Setting lighting for one of the scenes at the Santa Fe Scottish Rite book release event on June 24, 2018

Checking the power point presentation and projection screen at the Santa Fe Scottish Rite Theatre

There is something about stepping on a historic stage that touches my soul. It could be the simple connection to the past, or the sheer beauty of the scenery and stage machinery. My mother was a history teacher and my father could build anything. In Santa Fe, the intensity of my enthusiasm for Masonic stages doubled, even more so than at the Minneapolis Scottish Rite. At one time, the Minneapolis Scottish Rite provided a safe foundation for my soul – much had to do the close friendship and support of the backstage director, Larry Wigfield.

Wendy Waszut-Barrett with Larry Wigfield at the Minneapolis Scottish Rite during 2000-2001

For me, it always feels like I am coming home when I step upon a Masonic stage; I find immediate happiness and peace, regardless of the scenery collection’s condition. I have to wonder why, as I did not grow up on stage, or in a home full of Freemasons.

There was a close family friend, an adopted Uncle Don, who was a director at Hennepin Community College, but it was never stressed that I contemplate participating in any theatrical production or considering theatre as a career. It was only in college that I encountered scenic art and stage design. I had the perfect instructor, mentor, guidance counselor, and friend – Lance Brockman. But he did not create my immediate connection to theatre, he provided access to historic techniques and an appreciation of past theatrical productions.

Instead, it was the diary of Thomas Gibbs Moses that has continued to guide my journey. I felt an immediate inclination to protect and document everything that he had accomplished; there is no reasonable explanation. I have always fought for the underdog, made friends with those who had none, and took care of old people and antiquated things. With historical scenic art and scenery collections it was different, however, as I felt “nudged” to understand the theatrical career, scenic art, life and times of Thomas G. Moses.

Today, June 24, 2018, is the culmination of many things for me. I am coming full circle with the journey that I began at the Scottish Rite in Santa Fe sixteen years ago. There is the immediate affirmation that I am still in love with the Santa Fe area and the community. For all of the trials and tribulations that I encountered in Minnesota, I have overcome what appeared to be an insurmountable obstacle two years ago. The CEO of the Minnesota Masonic Heritage Center did not stop me on June 24, 2016. The experience just made me stronger, giving me determination and focus for my future. Many women have overcome similar obstacles in similar circumstances; we are too strong to be slowed down or stopped. We shall overcome.

To be continued…

Travels of a Scenic Artist and Scholar: A Visit to the Cheyenne Scottish Rite on June 17, 2018

A Visit to the Cheyenne Scottish Rite on June 17, 2018

The Scottish Rite Theatre is in the Cheyenne Masonic Temple, located at 1820 Capitol Avenue. This three-story building was initially constructed in 1901 at a cost of $45,000. In 1903, the building was gutted by fire. After receiving $35,000 from the insurance company, the interior was reconstructed. Our guide, Ron, explained that an addition to the building occurred during the 1920s and included the theater.

1901 Masonic Temple in Cheyenne, Wyoming before the 1903 fire.

1903 Masonic Temple in Cheyenne, Wyoming, that was rebuilt after the fire.

In 1921, “The Billings Gazette” reported that Wyoming had 1906 thirty-second degree Masons, an increase of 245 members in twelve months. Furthermore, the secretary of Wyoming Consistory No. 1 in Cheyenne reported, “the total resources of all four bodies of the Ancient and Accepted Scottish Rite amount to $189,958.88” (17 Sept 1921, page 8). There were 2,090 members in the Rocky Mountain Lodge of Perfection; 1,961 members in the Albert Pike Chapter of the Knights of Rose Croix; and 1,961 members in the Cheyenne Council of Kadosh No. 1. At the time of the article, a new Scottish Rite Cathedral was being built in Cheyenne. Plans for this new Consistory building had been in the works since 1920, when the “Casper Star-Tribune” reported, “Tentative plans for the cathedral which Wyoming Consistory No. 1, A.A.S.R., is to erect at Capitol Avenue and Twentieth Street, have been approved. They call for a structure of Grecian architecture, with a frontage of 132 feet on Capitol Avenue, which will cost approximately $500,000. Aside from the fact that it will be the largest and finest fraternal society building in Wyoming architecture. Work on the building, it is planned and will begin next fall” (29 May 1920, page 9).

End view of sandwich batten on Scottish Rite scenery in Cheyenne, Wyoming.

Some of the scenery that is currently on the stage is identified as being delivered to “Scottish Rite Bodies. Masonic Hall. Cheyenne, Wyoming.” This information is stenciled on the back and front of some bottom sandwich battens. The stenciling on the back of some drops confirms the destination of Cheyenne, and is characteristic of standard Sosman & Landis Studio labeling during the first decade of the twentieth century.

Stencil on back of a Scottish Rite drop in Cheyenne, Wyoming.

That being said, there are three distinct collections when examining the stencil placement, yet two are consistent with Sosman & Landis. The three collections also are not a standard size, as some are much taller and some are much wider. Furthermore, many of the drops were obviously hung in another venue prior to their transport to the current stage. This is confirmed by charcoal markings indicating previous line numbers for another space. Finally, the painted surface of the collection is primarily consistent with the Sosman & Landis installations for current collections in Santa Fe, St. Paul, Winona, Tucson, Ashville, and Grand Forks. What is not consistent with Sosman & Landis labeling in Cheyenne is that for their painted profile pieces, meaning the painted flats accompanying many of the painted scenes are not identified with stencils. The ones in Cheyenne are not labeled at all beyond a few pencil markings. The design and construction is also not characteristic of standard Sosman & Landis profile pieces. They are also much brighter in color than the remainder of the collection too.

A profile piece, likely produced by Volland Studio of St. Louis in 1924.

Finally, the stage machinery also predates the 1920s addition and is characteristic of those installed by Sosman & Landis during the first decade of the twentieth century.

Now, here is where it gets interesting. Thomas G. Moses records that he supervised the painting of the Scottish Rite scenery for Cheyenne in 1911. Why did they know about Sosman & Landis in Cheyenne? Well in 1881-1882 Sosman & Landis also provided the stock scenery for the Grand Opera House in Cheyenne. They had a foothold in the community already. This helps confirm the majority of scenes that are distinctly Sosman & Landis designs with their standard stencils. However, Volland Studio records also indicate that they delivered Scottish Rite scenery in 1924, about the same time that the Scottish Rite held reunions in their new theater in Cheyenne. The painted profile pieces and the few scenes that are inconsistent with Sosman & Landis Masonic compositions and may be attributed to Volland Studio.

Detail from one of the drops likely attributed to Volland Studio due to the bright coloration and painting technique. This is more characteristics of the 1920s.

Backdrop is likely by Volland studio artists in 1924. The cut drops are consistent with those created by Sosman & Landis Studio of Chicago during the first decade of the twentieth century.

What I have not had time to do is categorize the drops based on stencil placement, charcoal markings, composition, and other consistent characteristics that helps divide up the entire collection. Finally, there were even more drops stored at the Cheyenne Masonic Temple that had sat for decades, rolled up in an offstage area. Unfortunately they were disposed of a few years ago.

Scottish Rite scene in Cheyenne, Wyoming, by Sosman & Landis Studio

In short, I can confirm that the Scottish Rite Masons were using Sosman & Landis scenery in 1911 that was delivered to the Cheyenne Masonic Hall. And then there is the dead hung drop curtain against the back wall.

A peak at the dead hung drop curtain at the Scottish Rite in Cheyenne, Wyoming.

I was able to identify that it was a drop curtain due to the painted fringe and draperies. It also has identical bottom battens to the oldest scenery that is currently hanging. Yet, the front curtain would have been not wide enough for the current proscenium opening. Maybe it was kept for sentimental reasons. I would love to see what the composition is, as we were unable to see beyond the bottom two feet of the drop.

To be continued…

Travels of a Scenic Artist and Scholar: A Visit to the Hastings Scottish Rite on June 16, 2018

Travels of a Scenic Artist and Scholar: A Visit to the Hastings Scottish Rite on June 16, 2018

During the summer of 1930, “The Nebraska State Journal” reported that the new $400,000 Hastings Masonic Center building was nearing completion (24 August 1930, page 39).

Postcard of the Masonic Center in Hasting’s Nebraska. We visited the Scottish Rite theater in the building on June 16, 2018.

We left our hotel in Lincoln, Nebraska, at 6:30am yesterday and headed to Hastings. At 8:30am we were scheduled to meet Phil and some volunteers to look at the scenery. There were two volunteers to help with the scenery, John and Jim.

Lines at the Scottish Rite in Hastings, facing the stage from the stage right side.

Lines and old Frank Adam lighting board at the Scottish Rite in Hastings, Nebraska

The old light board for the Scottish Rite stage in Hastings, Nebraska.

The layout of the stage was intriguing. The drop lines were handled at stage level and caged off in the stage right area. There were 70 line sets, but not necessarily placed in numerical order, suggesting that a few lines had moved over the decades. The shape of the stage was bizarre; not a rectangle, but the shape of the letter “D” with the curve upstage. The back of the stage was angled and much smaller than the proscenium opening, almost as if it were the corner of the building. However, this area was perfect for storing musical instruments, as not drops could be hung from above. The original Frank Adam lighting board was still present, just no longer in use. It was located up a small flight of stairs, stage right.

My records indicated that the drops were produced by Volland Studios during 1929 and installed in 1930. Interestingly, it appears as if not all the drops were constructed for this particular stage at the same time, or for this particular venue. Some were much too wide – folded back at the sides to fit on the pipes. The backdrops were originally constructed with jute webbing and tie lines on top and pipes pockets on the bottom.

I have come to realize that pipe pockets don’t last over time, even when they are part of the original installation. The sewing for pipe pockets introduces weakness into the original fabric; these weak areas, where the needle pierced the original fabric, fail over time. After several decades, it is like a perforated page and the pipes will fall to the stage. Depending on the type of fabric used to construct the pipe pocket, the actual fabric may fail also start to fail if the pipe rusts. In humid environments, the pipes not only rust, but also adheres to the fabric.

In Hastings, the fabric used for the pipe pockets was incredibly thin. It was almost like a lightweight dressmaking muslin, just black. All of the pipe pockets have started to fail and my Scottish Rite representatives realized that this was becoming a liability. We talked about a variety of options for the future – options that could be done immediately by the Masons for safety precautions. In one case we removed a pipe, and as we did, the fabric had to be pealed off of the pipe as rust had bonded the two together in areas.

Detail from the treasure scene at the Scottish Rite stage in Hastings, Nebraska.

As far as the drop construction, there were several features characteristic of the late 1920s. Typical to Scottish Rite scenery dating from this era includes an abundance of spatter throughout the composition. Also, characteristic of the time, the sides of the drop were finished prior to the painting, with the original tack marks to secure the fabric placed 2 ½ to 3 inches apart. This meant that there was no scalloping along the edges.

Scene from the Scottish Rite stage in Hastings, Nebraska.

Treasure scene from the Scottish Rite stage in Hastings, Nebraska.

Egyptian scene from the Scottish Rite stage in Hastings, Nebraska.

King Solomon’s apartments scene from the Scottish Rite stage in Hastings, Nebraska.

Painted details from King Solomon’s apartments scene at the Scottish Rite stage in Hastings, Nebraska.

The painting is beautiful, but the new lighting system is not. A lot of money was spent for a system that does not work well for painted scenery, or is easily used by its members. The area lights are not even on the stage floor, and there are hot spots all over the scenery. Not for the first time, a Scottish Rite was talked into something that doesn’t work for a historic venue; this is always frustrating to encounter.

To be continued…

Travels of a Scenic Artist and Scholar: A Visit to the Omaha Scottish Rite on June 15, 2018

I take a brief break from the “Tales of a Scenic Artist and Scholar” storyline as I travel to Santa Fe, New Mexico for the book release (“The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre”). For the next three weeks, I will post about historic theaters that we visit on our journey. Yesterday, we visited the Omaha Scottish Rite. We are now on our way to the Hastings Scottish Rite and the Minden Opera House, landing in Cheyenne, Wyoming, tonight. I’ll keep you posted as I start the short series: Travels of a Scenic Artist and Scholar. Here is the first installment. Pictures of the Omaha Scottish Rite were posted yesterday.

Travels of a Scenic Artist and Scholar: Omaha Scottish Rite. June 15, 2018

We were able examine all of the backdrops at the Scottish Rite Theatre in Omaha, Nebraska, yesterday morning. The current Omaha Scottish Rite building constructed in 1914 at 20th and Douglas Streets, with the first Scottish Rite Reunion in the space being held that fall. It is now using scenery purchased from the Valley of Kansas City (Kansas) in 1996 for $40,000. This current scenery dates from the 1950s and will be described at the end.

In 1914, the “Omaha Daily Bee” described, “The new Scottish Rite Cathedral is a three-story structure, with high basement, built of Bedford granite, with imposing Ionic columns and porticos. The auditorium on the second and third floors where the initiations will take place, is an attractive modern theater, with a stage 30×40 feet and a seating capacity of about 1,000. It is tinted in cream and pink decorated panels and has all the arrangements for lighting, stage settings and precautions against fire, of the most up to the minute theater. It has a wardrobe and paraphernalia room adjoining” (1 Nov. 1914, page 25). No mention was made of the company that was providing the stage settings – VERY odd and unlike the opening of any other Scottish Rite in the country at the time.

M. C. Lilley subcontracted the 1914 set of scenery for Omaha to Sosman & Landis in Chicago during 1914. Thomas G. Moses confirmed this in his diary that year recording, “Some new Masonic work for Omaha.” Sosman and Landis had also created an earlier set for the Valley of Omaha to use at their previous space. During 1914, Sosman & Landis were creating Scottish Rite scenery for Grand Forks, ND, that “furnished a lot of work for the boys.” They also started the Pittsburgh Scottish Rite scenery collection of 100 drops. Regarding that project, Moses wrote that the job “will keep us busy for a long time.”

This was also the same year that Joseph S. Sosman passed away on August 7,, 1914, and the board of directors elected Moses as the company’s new president. He recorded, “On the 10th, a stockholders meeting was called and I was elected president of the Sosman and Landis Company. Arthur Sosman was elected vice-president and P. Lester Landis, secretary and treasurer. It is very strange to me that I had never given this change of the business a thought. I had never thought of Sosman dying.”

This is a horrible turn of events forever changed the fate of the studio; it placed a scenic artist in charge of a scenic studio that specialized in Scottish Rite scenery without any Scottish Rite Mason on staff. Sosman had been the driving force for years, as he was a well-respected Scottish Rite Mason in Chicago, a member of the Oriental Consistory. There was a new problem; Moses was not yet a Mason who understood how to navigate the Fraternity, or manage all of the necessary administrative duties at the studio that Sosman knew so well. Moses was, after all, primarily a scenic artist, stage mechanic, and designer.
Yet there was one other complication in 1914 that I just discoveredwhile reading “The Omaha Valley Scottish Rite Freemasonry, 1867-2014” by Wm. Larry Jacobsen. This book was a parting gift in Omaha, given to me by our wonderful guide Micah Evans. Interestingly, there was a misunderstanding on who was responsible for the structural work necessary to support the scenic drops. Part of the standard procedure for Scottish Rite scenery installations at that time was that they were suspended from “Brown’s special system.” This was named after the M C. Lilley western sales representative and Scottish Rite Mason, Bestor G. Brown. It would be atypical that someone, or any company, besides M. C. Lilley or Sosman & Landis would install 1914 stage machinery to accept their painted scenery.

Furthermore, Jacobsen writes that “M. C. Lilley suffered further anguish when the Omaha Valley reduced the number of drops to 34 from its original 80 because of the price” (page 44). This number, however, obviously increased as there are sixty line sets today. Jacobsen also explains that “after numerous communications, a general agreement was reached in January 1915 and the scene drops were ready for the Spring 1915 Reunion.” To NOT have the scenery for the opening of a building that cost a quarter million dollars instead of the anticipated 60,000 must have been embarrassing. The entire endeavor was incredibly over budget and would have been quite a scandal.

Fast forward to 1996 when the Valley of Kansas City put it’s building on the market and moved to a new location. They had a set of scenery produced by the Great Western Stage Equipment Company of Kansas City from the 1950s. I had discovered this sale while researching Scottish Rite compositions for my doctoral dissertation; the entire set of backdrops was posted online at the time. $140, 000 was spent to remove the drops from Kansas City, transport them to Omaha, and install the new drops.

So, what I was able to add to this Great Western Stage Equipment Company acquisition story was the specific artist who painted the drops. You see, in 1989, I processed the scenery designs for the Great Western Stage Equipment Company collection at the University of Minnesota Performing Arts archives. Like the Atlanta Scottish Rite, the scenic artist responsible for the Omaha Scottish right was Maj. Don Carlos DuBois (pronounced “due-boys”).
DuBois is unique, as he signed many of his backdrops – sometimes in a cute little beetle logo, and always with the date. He was also reprimanded in writing by his superiors to not put the names of living people on painted gravestones in the 30th degree catacombs drop. Clearly they couldn’t take a joke.

Images for several of the backdrops and were posted yesterday on my public FB page Dry Pigment. I will upload some later, as I am having internet issues on the road.

To be continued…

Tales from a Scenic Artist and Scholar. Part 356 – The Little Rock Scottish Rite Scenery from 1896, 1899, 1902 and 1923

Part 356: The Little Rock Scottish Rite Scenery from 1896, 1899, 1902 and 1923

Today, we return to the story of the Scottish Rite scenery collection that was produced by Sosman & Landis for Little Rock, Arkansas, in 1896. Some of his collection was expanded in 1899. When the new building was planned in 1901, a new scenery collection was purchased from Sosman & Landis to fit the larger stage. Scenery from the old building (1896-1899) was gifted to the New Orleans Scottish Rite in 1906.

In Little Rock, membership continued to increase, again necessitating a larger space. In 1923, this second collection (the 1902 scenery) was returned to Thomas G. Moses, president of the Sosman & Landis Studio, for credit on the purchase of a new scenery collection in 1923. The new scenery was for the massive Albert Pike Memorial Temple in Little Rock. Original backdrops from the 1902 Little Rock scenery collection were resold to the Pasadena Scottish Rite during 1925 for their new building. That same year, Thomas G. Moses joined the Scottish Rite in Pasadena; he was a member of their first class in the new building.

*The 1902 Albert Pike Consistory building that was expanded in 1913.*

*The Albert Pike Memorial Temple that replaced the 1902 Albert Pike Consistory building.*

I was contacted by a Little Rock Mason for many years about the 1923 scenery collection. He worked at the Scottish Rite and would periodically call to get advice, enquiring about everything from backdrop repair to mural restoration. This gentleman had no theatre experience, artistic training, nor rigging knowledge. During every conversation, we would talk about the history of their collection. We would discuss the significance of the backdrops, and I would place them within the context of both Masonic history and theatre history. Each time during a conversation he would say, “Wow. I just wish that I could convince my boss to bring you down and talk to the membership about what we have here.”

In every telephone conversation, my Little Rock Mason would consistently explain that his superiors had no intention of hiring anyone to help fix the scenery; he was going to have to figure out how to do it by himself if they wanted to use a damaged one for the next reunion. So we would game plan for what was possible on his end, as he would be working alone. “They really don’t understand the stage or what needs to be done here,” he repeatedly explained to me over the years.

*The Albert Pike Memorial building stage. Picture posted online. Note that a drop is being worked on and the one ladder would be the one that my friend used to lower the scene all by himself.*

*The Albert Pike Memorial building auditorium.*

He acquired my name and number from the “boys in McAlester.” It was one of the many times that he was desperately reaching out for help and seeking advice after a backdrop ripped. Through the grapevine, he discovered that the Scottish Rite in McAlester, Oklahoma, had hired a “little gal from the north” to “fix” their scenery. They passed along my number and he gave me a call.

A backdrop from the Albert Pike Memorial building. Picture was posted online. Notice the central fold in the fabric running vertical along the scene. This suggests that their was a pucker in the fabric when it was attached to the batten after a repair.

Each time I picked up the phone, I planned to be occupied for an hour or so, hearing about his scenery problems and all of the administrative obstacles. I envisioned a white-haired gentleman who still was full of “piss and vinegar.” He was skeptical of the “higher-ups” and wanted to do his best, as he loved their scenery collection and the backstage area. I learned a lot about the administration in Little Rock from his unique point of view. Over the years, I passed along as much information as possible to do adequate job, especially as he would be working alone without any additional sets of hands. The work was going to happen anyway, so he might as well have some guidance, albeit was from a few states away.

*A backdrop from the Albert Pike Memorial building. Picture was posted online. This is the treasure chamber for the 15th degree.*

They were only a few things that ever made me cringe when chatting on the phone. The most memorable was his describing how he could remove a backdrop from the lines all by himself. He put large eye screws in the stage floor and secured the lines to them, as he slowly unhooked each of the three pick points and removed the backdrop. Eek. I envisioned what the Little Rock stage floor must look like – large holes from the eye screws everywhere. He explained that it was a less than an ideal situation, but there was no one else to help and his employers refused to hire anyone to help with the repair. Once again, his situation depicted that those who understand the significance of historic scenery collections are often not in charge. In fact, these Masonic historians, or stewards of the backdrops, are devoid of any type of support or financial assistance when a backdrop is damaged.

*A backdrop from the Albert Pike Memorial building. Picture was posted online. The is the hell scene for the 18th degree.*

I know that the current 1923 collection has been extensively patched and handled over the years. Their collection won’t last forever and my friend has since retired. Hopefully, his replacement cares as much about their historic scenery collection as his predecessor.

To be continued…

Travels of a Scenic Artist and Scholar – Pasadena Departure Day

Exterior of the Scottish Rite in Pasadena, California.

A little after 8:00 AM I arrived at the Scottish Rite. My goal was to attach the top and bottom battens by 10:00AM so that we could hang the scene before my departure at 2:00PM. This should be a fairly simple task to accomplish…if the battens had been labeled per my request when they were removed from the drop. If these were the only wooden sandwich battens along the back wall of the stage, that would be one thing – but there were others.

So I started to pull from the pile the ones that I thought might be for the scene. On top of this, one of the two volunteers was not going to make it. In a way, this was a little bit of a relief as the “hunting” was going to be problematic at best. The only worse thing would be an assistant randomly pulling lumber and asking, “Is this it?” A one point, my sole volunteer pointed to a stack of neatly labeled lumber on one of the racks and suggested that the pile might be from our drop. As I looked at the handwriting on the masking tape labels, I said, “Those are MY labels from the last time I was here and we had to remove the bottom battens from a damaged leg drop.”

There are a few fortunate things that happened during the search. The first was that the bottom batten was painted to match the scene. The second was that the top batten had paint slopped on it from the 1940s when the scene was touched up. All I had to do was match the screw holes, right? Well, kind of… You see there were two sets of screw holes – the first from when the scenery was installed in Little Rock, the second from when the scenery was installed in Pasadena. It took some time, but I was attaching the battens by 10:00AM.

Over the years, I have gotten pretty smart about how I attach the fabric to the battens. The big thing is that I use tables and work standing up. This saves my back and time. Well, this method only works with a minimum of three people, ideally four. I had one – so I started to create my guidelines on the floor, determined to occasionally stand up and stretch my back. Twenty years ago, attaching battens on the floor was a snap – no so much anymore. There was not much help as my volunteer could not easily kneel on the floor either. Looking like I was stretching for yoga, I slowly scooted along the filthy floor, thankful that I had a change of clothes for my flight that afternoon.

Now, the second problem – locating the screws. We had picked up new screws as sometimes the old hardware was compromised during the removal from the batten. The Valley requested that I reuse the slotted screws. Ok. I did, but all couldn’t be located at first. Ironically, my assistant found the screws on top of a table in a stage left alcove. I cannot tell you how humorous I found his finding the screws next to the mannequin of the “dead Hiram” that was laying on the table. Of all the places to find them! So with all of the screws, except three that had snapped during the initial removal, I completed attaching the battens.

Then we waited for my rigging crew to show up, after I sent the “ready to go” text. Nothing like having a professional crew on standby. Everything worked beautifully and the drop was up in the air by 1:30PM – just in time.

This project was the perfect “dry run” for the upcoming restoration work. I have my rigging crew and am thrilled with their personalities and abilities. This was also a good run for the Valley as they now know me, my work, the complexity of handling historic scenes and the hanging of backdrops.

Tomorrow, I am back to the storyline in my blog about Thomas G. Moses in the year 1896.

The new solar panels over the Pasadena Scottish Rite parking lot, providing shade for the cars and power for the building. The is really a healthy and vibrant Valley that is looking toward the future.

To be continued…

Travels of a Scenic Artist and Scholar. Restoration work at the Scottish Rite in Pasadena, California.

As the Song Goes, “Always Look on the Bright Side of Life” (cue the whistling). It was an appropriate tune while repairing the crucifixion scene at the Pasadena Scottish Rite Cathedral yesterday.

Last November, the Crucifixion backdrop at Scottish Rite in Pasadena, California ripped in two. The damage was instigated by a horizontal tear near the top batten on the stage right side. I had notified the Valley about this impending problem during my visit in August 2016 when I was evaluating their scenery collection. At the time, the rip had temporarily “paused” at a vertical seam. It took fifteen months before the rip would finally break through that seam and continue across the drop. Near the center of the drop, there was another weak spot in the fabric, causing the rip to change direction and become a vertical tear.

The damage that I was anticipating at the Pasadena Scottish Rite. A few large tears in the crucifixion backdrop.

In addition to this massive damage there were many other problems, punctures and previous repairs throughout the drop. One of the patches was attached to the drop with hot melt glue, making me cringe as this particular adhesive destroys historic fabric.

This hot melt glue patch is not the first one that I have encountered. Have I mentioned how much I hate people who use hot melt glue on historical scenery?

The damage caused to the fabric substrate when trying to remove hot melt glue. No, freezing it does not work like gum on a shirt.

It is impossible to remove without destroying the fabric, but cannot remain as it does not provide adequate support. In short hot melt glue cause more damage to historic fabric than almost anything else – except water. All of the previous patches on the Crucifixion drop were also starting to fail and needed to be replaced.

If this damage weren’t bad enough, there were two other factors were at play: extremely thin fabric and a later application of flame retardant.

The rust tinge caused by applying flame retardant to the back side of a drop that is already painted. It takes a few decades to appear, but flame retardant sprayed “after the fact” is a death sentence to historic scenery.

Notice how thin the fabric is for the Crucifixion backdrop at the Pasadena Scottish Rite Cathedral.

The fabric was akin to fine theatrical gauze. I had never encountered such a fine backdrop material before and was shocked at the choice. The translucent areas had been left as raw muslin and darkened over time, especially with the application of flame retardant. The particular formula of flame retardant in 1949 stained much of the fabric, giving everything a slight look of pale rust stains. Flame retardant, applied “after the fact,” also left standard damage that included flaking paint and crunchy fabric. The combination of these two factors made some areas of the drop feel like old tissue paper, ready to crumble at a moments notice. The combination of all the above-mentioned elements contributed to an even larger problem; all of the vertical seams were starting to fail.

I had anticipated the two large rips and needing to replace some previous patches. I had not anticipated the failing of all seams, nor had the pictures depicted this particular issue as I corresponded with the Scottish Rite representatives over the past few months. I had allotted a two-day repair with hanging the drop on the morning of my departure. There would be no extra time for me as I had another project waiting at home.

Immediately upon my arrival at the Burbank airport, we dropped off my supplies at the Temple before heading to my hotel. My flight had been delayed and it was after 1AM in the morning when the plane landed. Upon visiting the Scottish Rite, I assessed the damage and felt that familiar sinking feeling of impending doom. As the damage was far more extensive that anticipated, I began my preparations for the next day by 2AM.

Button on the Pasadena Scottish Rite light board.

Unless I managed to put in about five days time in 2 ½ days, the drop would never be ready to hang before my departure. I knew that I would never be able to see it hang, but I could make sure the drop was repaired. Yesterday was a long day, 9:00AM until 11:30PM. On the bright side, I will likely make my target. What I did manage to accomplish was the following: carefully removing the remaining wooden battens; preparing the space for restoration; cleaning the damaged areas; and reinforcing the splitting with vertical patches.

One more day of my life spent crawling around on my hands and knees over historic scenery. Regardless of the physical strain, lower back paint, and sore shoulders, I was blissfully happy (as almost always). There is something wonderful about trying to revive a scene that most would deem unsalvageable and likely find its way into a dumpster. For me, it would be unconscionable to walk away, explaining that the vertical seams were failing and no amount of help could salvage the torn remnants. I decided to look at it as a challenge a make the best of my time here.

In the morning, I presented the various options for repair to the President of the Temple Building Association in light of the new discoveries. We decided to apply a vertical patch to each seam as there was not time or material to back the entire drop. There are several reasons for selecting this method, timeframe being the most important. So, I cleaned the seam and began slowly patching each of the eleven vertical seams. I needed to finish all of them the first day, so that I could focus on the actual rip next and the reinforcement of the top and bottom the second day.

A photo of my progress while patching the splitting seams on the crucifixion drop at the Pasadena Scottish Rite. I will use different fabric for patches in the translucent section of the sky so that they are not visible when backlit.

A view of the backdrop repair occurring on the stage form the light booth at the Pasadena Scottish Rite.

Hi ho, hi ho, it’s off to work I go.

To be continued…