Scottish Rite Scenery – Page 19

Tales from a Scenic Artist and Scholar. Part 261 – Thomas G. Moses and “Fabio Romani”

“Fabio Romani,” a Tale of the Dead, by Aiden Benedict was based on Marie Correlli’s 1886 novel “The Vendetta.” A deceived husband feigns suicide and disguises himself to torture his unfaithful wife, finally killing her when he reveals his true identity.

The play “Fabio Romani” was based on Marie Corelli’s book, “Vendetta.”

The show was advertised as a “spectacular drama” with “startling scenic surprises, including “a Thrilling Earthquake Effect, an Eruption of Mount Vesuvius, Illumination of the Bay of Naples. Forming a Most Magnificent Spectacular Tableau” There was a dual role of Fabio Romani and Conte Caesar Olivia performed by Walter Lawrence. Nina, a “weak and faithless woman”, was played by Miss Francis Field. A special feature was the famous serpentine dance by Szerina. Newspaper articles noted that the stage settings were particularly beautiful and effective. They were painted by Thomas G. Moses.

Advertisement for the 1893 production of “Fabio Romani,” with scenery by Thomas G. Moses.

The January 6, 1893, issue of the Dramatic Standard described the scenic effect: “At the final scene, Nina is entombed alive by her wronged husband in a mausoleum. In the climax of the subterranean commotion the huge tomb sinks out of sight and reveals dwellings falling in ruins, the earth rocking and rent with fiery fissures, while Mount Vesuvius in the background belches forth a huge column of fire and smoke, and pours red streams of lava upon the city of Naples at its feet.”

Volcano effects at for the 17th degree production of the Ancient and Accepted Scottish Rite.

Volcano effects at the Galveston Scottish Rite with scenery by Great Western Stage Equipment Co., painted by Maj. Don Carlos DuBois. This slide is used by the Fort Worth Scottish Rite.

This description brought to mind the 17th and 30th degree settings for the Ancient and Accept Scottish Rite. The twelfth installment for “Tales of a Scenic Artist and Scholar” examines the volcanic eruption in seventeenth degree for Fort Scott, Kansas.

The 17th degree of the Scottish Rite can be one of the most exciting degree productions on a Masonic stage. Lighting flashes, thunder rumbles, the ground trembles, and a volcano explodes, toppling buildings in the foreground of a painted composition. A red plume of lava shoots into the air, while rivulets of lava stream down the mountainside and gradually spill into a lake. Slowly, the sky and water become a bright blood red.” It sounds a bit like the scenic illusion presented for “Fabio Romani,” doesn’t it? This was just one of many popular stage effects that was a popular hit for late-nineteenth century audiences.

The Scottish Rite’s staging in the seventeenth degree relates to the breaking of the seven seals in the Book of Revelations. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition.

One of the vision drops at the Fort Scott, Kansas, Scottish Rite. The scene was purchased for the Minnesota Masonic Heritage Center theatre and is currently in storage.

Fort Scott and Winona Scottish Rite stages had small drops for the various visions. The scenic studios used tried and true formulas to develop the settings for Masonic degree productions

The first time I documented this impressive scene was during a scenic evaluation at the Winona Scottish Rite Theatre in 2010. There, local volunteers assisted in a brief semi-staging of the scenic effects – without the lighting or flashing lights.

Winona Scottish Rite setting for the 17th degree – before the volcanic eruption. Photograph by Wendy Waszut-Barrett, 2010.

Winona Scottish Rite setting for the 17th degree – after the volcanic eruption. Photograph by Wendy Waszut-Barrett, 2010.

Unfortunately, the City of Winona failed to fix the stage roof and the scene continued to suffer from constant water damage. Even when it was put into temporary storage, it was a shadow of its former self. That scene is currently up for auction and has a slim chance of being seen in its entirety again in any performance venue. Similarly, in Fort Scott, I again staged the scene prior to removal and transportation to a storage facility in Minnesota. Likewise, I doubt that this spectacular stage effect will ever be presented to any audience. People can’t value what they don’t understand.

The volcano scene for each location was labeled “17th degree Vision” or simple “Vision.” “Vision” was the title designated by the Sosman & Landis for this particular degree. Each design could include a variety of scenic effects, dependent on the amount of money that the client was willing to invest. Flowing lava rivulets, crumbling buildings, blood-red water – all was possible if you had sufficient funds. Elaborate paintings with complex rigging incorporating netting, transparencies, translucencies, and a variety of rigging mechanisms to lower painted panels on the front of the cut drop also came at a price. The Scottish Rite in Fort Scott, Kansas, had a lot of money to include this particular setting, but Winona had even more money.

The Scottish Rite scenery collection installed in Winona, Minnesota, was the most complete Fraternal installation that I have encountered to date. It will never hang as a whole above any stage again. The City of Winona has selected a few drops to retain and the rest will be dispersed; more victims to theatrical homicide leading to a destruction of the past.

To be continued…

Tales from a Scenic Artist and Scholar. Part 251 – The Significance of Thomas G. Moses and the Fort Scott Scottish Rite Scenery Collection

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). I posted the article in its entirety over six installments (# 245 to 250). It provided a list of well-respected scenic artists, especially those in Chicago.

1892 illustration in the Chicago Sunday Tribune depicting the transportation of theatre scenery.

I want to pause for a moment to reflect on the significance of a painted scenery collection produced by one of the scenic artists mentioned in this article. Thomas G. Moses designed and painted an entire collection for the Ancient & Accepted Scottish Rite of Freemasonry in Fort Scott, Kansas, during 1924. It survived in its original venue until 2015! This is pretty remarkable, especially in light of his being recognized as one of the top scenic artists in the United States already in 1892. When Moses painted the Fort Scott scenery he was sixty-eight years old.

By the 1920s, most large scenery collections were the products of several unidentified artists, painted in a studio and shipped to a theater for installation. This makes the Fort Scott collection a unique example of a studio artist painting a large collection by himself on site. Furthermore, Moses’ 1924 paintings hung undisturbed in their original installation order for 91 years. This is also unusual as many scenery collections were added to over time or rearranged by enthusiastic stage crews.

In addition, the scenic artist’s personal effects were found on site in 2015. Specifically, the painter sweater, cap, brush, charcoal and other artifacts were discovered during the removal and transportation of the entire collection in 2015. This collection was purchased for eventual display at the Minnesota Masonic Heritage Center. Earlier that year, I had evaluated the scenery, planned the removal and transportation of the collection, and identified key individuals for my restoration crew. As Curatorial Director for the Minnesota Masonic Heritage Center, I was returning from Fort Scott to restore and supervise the installation of the scenery collection. It was to be unveiled to the public at the grand opening on June 24, 2017.

In the end, my position was eliminated and the restoration of this culturally significant artifact was handed over to a company who had no experience in handling or restoring historical theater scenery. Critical information contained on the wooden sandwich battens was lost when they were abandoned for pipe pockets and jute webbing. The fabric was irreparably damaged when hot melt glue was used to attach 1” opera netting to the cut drops and leg drops. Furthermore, some leg drops were cut in half and overlapped during installation. This destroyed the historical significance of a 1924 leg drop.

It was this wanton destruction of culturally significant artifacts that became a tipping point for me last year. I started with a public forum to raise awareness concerning the significance of historical scenery during the fall of 2016. Its purpose was not only to highlight this particular collection, but also to highlight the work of theatre artists and technicians whose work remains in historic performance venues. If people understand and appreciate historic stages, they might believe that it is important to preserve them for their children and grandchildren. That is my own mission statement. I am passionate about the preservation of both theatre history and Masonic history for future generations to examine and enjoy. It is time for me to take the next step – stay tuned.

1892 illustration in the Chicago Sunday Tribune depicting the stairway to the gridiron at a theater.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 16.

While Wendy Waszut-Barrett is traveling for research and art acquisitions (October 14-29, 2017) she is reposting early 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 sixteenth post from March 1, 2017.

Part 16: Stonehenge

Fort Scott Scottish Rite Stonehenge setting. Photograph by Wendy Waszut-Barrett, November 2015.

I need to explain a little history about the Ancient and Accepted Scottish Rite of Freemasonry prior to discussing the Fort Scott Stonehenge composition. I will simplify this history as much as possible so that your eyes don’t glaze over before getting to the scenery part.

The Scottish Rite is divided into two jurisdictions that are based on geographical demarcations. The Southern Jurisdiction is west of the Mississippi and south of the Ohio River. This means that the majority of the country belongs to the Southern Jurisdiction. I am not going to discuss what caused the division or the reason for the appearance of multiple Supreme Councils (governing bodies) in the North.

Southern Jurisdiction for the Ancient and Accepted Scottish Rite of Freemasonry is represented in red.

In the past, I have argued (in various publications and in my doctoral dissertation) that the earliest degree productions were performed in the Northern Jurisdiction.

Why? My theory is competition.

You see, during the mid-nineteenth century there were competing Supreme Councils in the Northern Jurisdiction of the Scottish Rite. This was not the case in the Southern Jurisdiction where one Grand Commander ruled from 1859-1891 (Albert Pike).

If you are in competitive environment, WINNING requires more members and more money. Staging degrees was a great way to promote a superior ceremonial experience that would subsequently bring in more money. Keep in mind that during the 1920s there was even a candidate class of 1000! That is a pile of cash that results from initiation fees and membership dues.

Now in the Southern Jurisdiction, Grand Commander Pike passes away in 1891. Prior to his death, Scottish Rite stages were beginning to appear in the Southern Jurisdiction – especially Minnesota, a state that straddled the western geographical demarcation of the two jurisdictions. By the 1880s, small stages were appearing in Minnesota lodge rooms with settings for the obligatory (or indispensable) degrees. Each degree could be an individual play with the potential for multiple acts. Each act could have numerous scenes. Money determined the size of scenery collections. Some Valleys had small stage with a set of ten roll drops while others had massive auditoriums with over a hundred drops that would be lower from a fly loft.

Grand Commander Pike in the Southern Jurisdiction was against the elaborate staging of degrees, stating, “The Rite in this [Southern] Jurisdiction is a Rite of instruction, and not of scenic pomp and stage-show…I can not conceive of a more useless occupation than the arranging and performing of degrees, neither the effect nor the purpose of which is to make men wiser or better, but which are acted as melodramas…” This pretty much sums up why a lot of Masonic theaters didn’t appear throughout the Southern Jurisdiction until AFTER Pike’s death in 1891.

Albert Pike Consistory in Little Rock, Arkansas. A stage for degree productions was constructed in this 1896 building. The original collection was refurbished and installed at the Pasadena Scottish Rite in California.

At this point, the Supreme Council initially takes a “non-action” as no one wanted to stop the growth of the Scottish Rite. This neutral action enabled the expansion of degree productions and theatrical interpretations of the degrees.

But some of the interpretations went a little too far – especially in Kansas. New designs began to appear – Stonehenge – for the Vedic scene in the 30th degree. There are two extant scenic designs depicting this composition – so the drop in Fort Scott, Kansas wasn’t an anomaly. But was it regionally specific to Kansas? You see, many regions developed unique interpretations for each degree.

Just a few hours to the west of Fort Scott in Wichita, there was another unusual composition that appeared. The stagehands still refer to this as the “goddess degree.” And I first encountered it during the summer of 2015 on our road trip from Fort Scott to Guthrie, Oklahoma.

Wichita Scottish Rite setting with cut center. Photograph by Wendy Waszut-Barrett, August 2015.

Wichita Scottish Rite setting covering for cut opening. Photograph by Wendy Waszut-Barrett, August 2015.

Wichita Scottish Rite setting backing. Photograph by Wendy Waszut-Barrett, August 2015.

Detail of foil strips in Wichita setting, similar to those used in hell scenes. Photograph by Wendy Waszut-Barrett, August 2015.

Enter a new friend and kindred spirit Janet Wolter. Wolter co-authored “America, Nation of the Goddess: The Venus Families and the Founding of the United States” with Alan Butler.

“America Nation of the Goddess” by Janet Wolter and Alan Butler. See www.NationoftheGoddess.com

We met while volunteering at the Minneapolis Scottish Rite library. One of our first discoveries was a handwritten Grange ritual. It was at this point when I exploring the ritual for the National Grange of the Order of Patrons of Husbandry. Beginning in 1867, it too had secret meetings, oaths, and passwords, incorporating themes from Greek and Roman mythology. This intrigued me and I thought about the Stonehenge and Goddess scenes in Kansas, telling Janet about my discoveries.

She suggested that Grange characteristics might have been incorporated into the ceremonies of other organizations. Were these new Scottish Rite compositions a type of outreach to Grange members? Was the Grange in Kansas an overt influence on the staging of Scottish Rite degree productions?

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 15.

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 fifteenth post from February 28, 2017.

Part 15: Raising Hell

Many Scottish Rite degrees can be narrowed down to three instructions: follow directions, respect others, and do the right thing. Doesn’t sound much like devil worship, does it? That being said, Scottish Rite Valleys are reluctant to show one particular stage setting to the general public – Hell. Throughout the country the composition is also referred to as Hades, the Dante drop, or the Inferno scene.

A simple explanation for the inclusion of this subject is that the scene depicts the fate for those who fall prey to temptation. It reinforces WHY you want to do the right thing. “Be a good person” doesn’t always work. “Be a good person or this terrible thing will happen to you” provides incentive. The setting often includes one cut drop and a backdrop, sometimes two cut drops for added depth and scenic effect.

Fort Scott Scottish Rite backdrop for Eighteenth degree. Photograph by Wendy Waszut-Barrett, 2015.

Fort Scott Scottish Rite second cut drop for Eighteenth degree. Photograph by Wendy Waszut-Barrett, 2015.

Fort Scott Scottish Rite first cut drop for Eighteenth degree. Photograph by Wendy Waszut-Barrett, 2015.

Compositions frequently include a variety of demons and tortured humans.

Painted detail from Hell backdrop for the Yankton, South Dakota, Scottish Rite. Photograph by Wendy Waszut-Barrett, 2014.

Very seldom did the scene remain as a red cave, but that is the case in a few Valleys, including McAlester, Oklahoma. Fort Scott included one of the most popular depictions and was NOT painted by Thomas Moses in 1924. This scene was painted much earlier in 1904 and enlarged to fit the Fort Scott space during the 1924 installation.

Top third of Hell scene backdrop during removal from Fort Scott Scottish Rite in 2015. Note the fabric additions on top and stage right side for an enlarged theater space. Photograph by Wendy Waszut-Barrett, 2015.

It matches the same scene used in other Scottish Rite theatres, including Grand Forks, ND, St. Paul, MN, and Santa Fe, NM. It was a stock design, and a shiny one at that, being replicated multiple times during the first two decades of the twentieth century. But what makes this scene special? What is the visual appeal? The sparkles.

Detail of foil strips on Fort Scott Scottish Rite Hell scene. Photograph by Wendy Waszut-Barrett, 2015.

The hell scene used foil paper strips to outline many of the figures and rocky outcrops. Why? It was a scenic illusion to reflect the fiery pits of hell. As the drop would slightly move, the crinkled foil strips would reflect the light and sparkle, thus creating the appearance of flickering firelight.

Pretty cool effect, but very labor intensive. Especially when you consider attaching each strip with glue after having already spent a significant amount of time attaching the netting to the cut drops. It was an expensive scene to purchase. Refurbishing the hell scene in 1924 would have saved a significant amount of money for the Fort Scott Scottish Rite and a significant amount of time for Thomas G. Moses.

This is one of the scenes that make evaluations and restorations a delight. People always want their picture taken with this setting – especially if there is an entire group. The caption reads, “Work is Hell.” But then there also is hanging the restored of the scene and shouting “Let’s raise hell!” Or the response you give to your spouse when he asks, “How was work today?” and you respond, “It was hell.”

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 14.

For additional installments, visit www.drypigment.net

Part 14: Lost in Translation

There are few Scottish Rite scenes that were solely designed for Masonic degree productions. Most stage settings that were used by the Fraternity originated for other venues. Many compositions had been used for centuries in a variety of theatrical and operatic productions. Palatial interiors, cathedrals, catacombs, dungeons, classical interiors, mausoleums, Egyptian temples, dessert scenes, forests, rivers, landscapes, Gothic armories, rocky coasts, and garden scenes were all used for both commercial and fraternal productions.

The “INRI Peristyle” scene for the eighteenth degree, however, was unique. It would become a standard setting in many Southern Jurisdiction Scottish Rite theaters during the first decade of the twentieth century. This scene used a translucent lighting effect. The words “Infinity,” “Nature,” “Reason,” and “Immortality” were typically placed at the tops of columns.

*18th degree setting designed by Thomas G. Moses for the Scottish Rite in Fort Scott, Kansas (1924). Photograph by Wendy Waszut-Barrett, 2015.*

*Same 18th degree setting created for Tucson, Arizona. Photograph by Wendy Waszut-Barrett, 2017.*

*18th degree setting by Sosman & Landis Studio for Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.*

The first letter of each word (I.N.R.I.) was backed with red silk, allowing it to glow. Thomas Moses’ design and painting for this Fort Scott scene placed the words at the base of each column – something new. Four corresponding light boxes with backlit words appeared at the appropriate time.

I am frequently asked questions about the subject matter and necessary symbolism in degree productions, especially for the 18th degree. And thus I find myself working as a “Masonic Outreach Specialist,” promoting the benefits of Freemasonry to society. When approached by theatre technicians, however, there is the additional question concerning the design process. How did the artists know what to paint? How did the Masons ensure appropriate symbolism on each backdrop without revealing any secrets?

My standard response includes a discussion on the appearance of theatrical manufacturers who became Masons. Scenic studio owners, regalia suppliers, and publishers greatly profited from Masonic membership and their Fraternal relationships. These individuals directed how the degrees would be staged and the appropriate costumes and props for each production. Was profit their sole reason for becoming a Mason? I like to believe that their motivation for joining the Fraternity wasn’t profit, but this association was a lucrative endeavor.

Did all of the scenic artists understand what they were painting on drops? Absolutely not, and the pelican in the 18th degree is a perfect example. Not even Moses in 1924 (the year before he joined the Fraternity and became an active member at the Scottish Rite in Pasadena, California) understood the symbolism of the pelican.

*1931 design for the 18th degree by Thomas G. Moses. Photograph by Wendy Waszut-Barrett, 2016.*

*Pelican detail in 1931 design by Thomas G. Moses. Photograph by Wendy Waszut-Barrett, 2016.*

The pelican is an integral part of the Peristyle composition, either appearing as a painting on the backdrop, painting on a cut drop, or included as a set prop. Sometimes this set prop was even illuminated as a large light box. The symbolism of the pelican is sacrifice; piercing its breast to feed its young. This image was also found in many churches, often in a stained glass design.

In Fort Scott and many other Valleys, however, the pelican holds a worm in its beak. Salina, Kansas, St. Paul, Minnesota, and Winona, Minnesota are just a few examples where a pelican does not pierce its breast. How was this symbolic detail lost in translation?

*Painted detail on 18th degree cut drop for Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.*

The design failed to show the detail of blood, so the artist just improvised.

*Painted detail on 18th degree backdrop for the Scottish Rite in Yankton, South Dakota.*

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.

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.

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. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 12.

Part 12: The Volcano Scene

The 17^th degree of the Scottish Rite can be one of the most exciting degree productions on a Masonic stage. Lighting flashes, thunder rumbles, the ground trembles, and a volcano explodes, toppling buildings in the foreground of a painted composition. A red plume of lava shoots into the air, while rivulets of lava stream down the mountainside and gradually spill into a lake. Slowly, the sky and water become a bright blood red.

17th degree scene from Scottish Rite in El Paso, Texas.

The first time I documented this scene was at the Winona Scottish Rite Theatre, were volunteers assisted in successfully presentation.

17th degree setting before volcanic explosion. Scottish Rite scene in Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.

17th degree setting after volcanic explosion. Scottish Rite scene in Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.

Stage hands working rigging for the collapse of painted structures in the 17th degree setting during the volcanic explosion. Scottish Rite scene in Winona, Minnesota. Photograph by Wendy Waszut-Barrett, 2010.

This scene is often labeled “17^th degree Vision” and could include a variety of scenic effects, all dependent on the amount of money that the client was willing to invest. The Fort Scott scene was like Winona and quite elaborate, using netting, transparencies, translucencies, and a variety of rigging mechanisms to lower painted panels on the front of the cut drop.

The staging relates to the breaking of the seven seals in the Book of Revelations. Cataclysmic events occur and a variety of painted visions are magically revealed in transparent sections of the composition. Fort Scott had five small drops for the visions.

Fort Scott Scottish Rite 17th degree setting before revelation of a vision drop. Photograph by Wendy Waszut-Barrett, November 2015.

Fort Scott Scottish Rite 17th degree setting after revelation of a vision drop. Photograph by Wendy Waszut-Barrett, November 2015.

These small paintings were almost always the work of an inexperienced artist as it was a perfect opportunity for them to show their skills in drawing and figure painting. If it really was a horrific end product, it wouldn’t matter due to its placement on stage, plus the dim lighting would conceal most of the flaws.

Painted detail from vision drop in Winona Scottish Rite collection. photograph by Wendy Waszut-Barrett, August 2014.

I have often wondered whether these small scenic art projects were the work of the owner’s nephew at Sosman & Landis Studio. Over the years, I have stumbled across comments concerning this familial relation who was constantly given an opportunity to prove his artist ability and consistently failed. This might have been the perfect project to prevent him from ruining the remainder of any Masonic installation.

In my mind I imagine the following dialogue:

Artist 1: What are we going to have him paint this time? He doesn’t seem to be getting any better and he’s so slow!

Artist 2: Give him the Vision drops again.

Artist 1: But he can’t paint figures and it will take him forever!?!?

Artist 2: I know, but at least it will keep him busy and you can’t see much of the painting during the degree anyway.

Artist 1: Well, the art does represent the end of the world.

Painted detail from 17th degree vision scene at Winona, Minnesota. Note placement of breasts, hair, and size of hands in this poorly drawn figure. Photograph by Wendy Waszut-Barrett, August 2014.

In the past, I have posted painted details of anatomical oddities from various Vision scene figures: breasts that were placed just below the collar bone, hair that defied gravity, hands that were unbelievably large, and faces with unnatural eye placement. Similarly, figures from the York Rite’s Sepulcher scene were often sporadic in terms of quality too. I frequently post these details with my standard comment,” and this is why drawing classes are important in scenic art training!”

The two Marys at the empty tomb encounter this angel. Sepulcher scene for York Rite degree at Winona, Minnesota.

The figures for Fort Scott were an interesting mixture of skill, but very inconsistent. I was reminded of the Vision scenes in Winona, Minnesota where one was “okay” and four were “pretty awful.” Although Thomas Moses was not a fabulous figure painter, I wondered if his onsite assistant was responsible for these paintings.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 10.

Part 10: The Ascension

Fort Scott Scottish Rite Ascension scene. Photograph by Wendy Waszut-Barrett, November 2015.

Another Fort Scott stage effect was the Ascension scene, a standard setting in many Southern Jurisdiction Scottish Rites theaters that had originally appeared on Northern Jurisdiction stages. The ascension and other eighteenth degree scenes from Jesus’ life had been used for decades in Passion Play productions across the country. It was not only a way to generate outside income, but it was also an event that brought the general public into a Masonic building. In many ways it was a positive outreach program for potential membership. A good example of this phenomenon occurred at the Scottish Rite in Bloomington, Illinois. Starting in 1924, the Bloomington Masons annually presented “The American Passion Play,” an elaborate production that was over three hours in length, with fifty-six scenes and up to two hundred and thirty actors.

1928 program from the Bloomington Passion Play, performed by the Scottish Rite Players at the Scottish Rite Temple theater.

In most Scottish Rite Valleys, however, the image of Jesus was presented as a small cutout set piece, ranging from thirty inches to forty inches in height. This image was often part of a staged scenic tableau, devoid of people and accompanied by music. Occasionally, actors played the role of Jesus and were securely strapped into a harness, slowly ascending out of sight. Just remember that this was not “Flying by Foy” and the rigging to raise actors high above the stage was sketchy at best. At Fort Scott, the Jesus cut out, or profile piece, was approximately 5’-6,” the size of an average male.

Profile piece of Jesus while still installed at the Scottish Rite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

We staged the effect to document the scene during November 2015. Tracking down the Jesus cable to a small machine behind the fly rail, we flipped the switch and hoped that it would work. The machine immediately came to life and started to whirr! Slowly Jesus descended from the fly loft. I ran to the stage and carefully filmed about sixteen seconds. “Got it!” I shouted, only to immediately realize that I had filmed the “second coming” and not the “ascension!”

We now set the scene with Jesus starting in the appropriate spot on stage – partially hidden behind the painted bush in the center of the cut drop. Again, I began to record the stage effect. His ascent was painstakingly slow and you could hear the noise of the engine as the cable was slowly coiled back onto the spindle. My patience lasted even less than sixteen seconds this time before I figured we had enough video. In the back of my mind, I wondered how loud the music needed to be to drown out the sound of this motor.

Our local Scottish Rite contact had given his permission to remove the unit, as many of us fancied the idea of owning this particular stage artifact. Unfortunately, the motor remained in place as there was little energy to take on any extra task during the final days of the Fort Scott project.

Removing the ascension cut drop and others proved to be a challenge due to the excessive amounts of dirt that clung to the 1” opera net and the bobbinet (open weave netting , similar to mosquito netting or tutu material). For the first few scenes, netting and bobbinet were left in the openings of the drops, but I became increasingly concerned that the dirt would become transferred to the painted surface, possibly permanently damaging the scene during rolling and transport.

As previously stated, I had never encountered this particular type of surface contaminant before during any restoration project. Very soon, I made the call that all netting on cut drops would be gently removed prior to rolling and transport. Again, this was an unanticipated time-consuming step that I had not factored into the overall project timeline. It would help out the restoration in the long run as all of the netting would be replaced on each scene; you never leave partial pieces of netting on a scene as this doesn’t support the cut opening. Unfortunately those who eventually “restored” the Fort Scott scenery left portions of the original netting on the back of the cut drops.

After removing the cables from Jesus, we carefully propped him up near the exit of the theatre. His silhouette against a white wall would frighten each of us multiple times throughout the duration of the project. We would catch his shape in our peripheral vision and it would literally make us jump as we perceived an unexpected visitor. This would lead me to use the phrase, “Remember, Jesus is watching you.”

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 8.

Part 8: Our First Day on the Job in Fort Scott

I was unable to conduct a complete evaluation due to time restrictions imposed by the CEO on our August road trip. My preliminary evaluation only depicted the individual drops and I needed to accurately record how each drop was paired with others to stage a complete scene and the subsequent spacing. This was crucial to any understanding of the entire collection as a whole prior to its removal and transportation. It was also imperative that there be “before” pictures for both historical documentation and as a resource during restoration and installation. Furthermore, as Curatorial Director one of my tasks would be to create a publication documenting the acquisition, restoration, significance and artistic provenance of this scenery collection. Therefore, the first two days in Fort Scott were spent documenting all of the scenes.

View of the bottom battens and counterweights at the Fort Scott Scottish Rite theater. Photograph by Wendy Waszut-Barrett, November 2015.

The project’s lead rigger, Brandon, and his second, Todd, were on site that first day. The remaining two members of the crew were still in transit from Jackson, Tennessee, hauling up the necessary supplies and tools for the project. The first morning, after cordial but stilted introductions, we left for the Scottish Rite.

Entrance to the Scottish Rite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

Lobby of the Scottish Rite in Fort Scott, Kansas. Photograph by Wendy Waszut-Barrett, November 2015.

Upon entering the building, we noticed the chill. Our working environment was going to be a cold one. Before lowering anything, we decided to explore the theatre area and inspect our working environment. It was also an opportunity for us to gradually become acquainted with each other. Within the first fifteen minutes of our journey I knew that everything would be fine throughout the duration of the project. Our personalities were well matched. It was obvious that both men were smart, easy going, and had that perfect amount of self-deprecating humor to make any project entertaining.

There is something delightful about exploring all of the nooks and crannies in an abandoned building with others who also see it as an adventure. The space adjacent to the theatre had been a bank and only the old safe remained as a silent reminder of its past grandeur. The space was now a deteriorated shell, the windows all gone. Puddles suggested a recent rainstorm and the only remaining inhabitants were birds and vermin. We left the space feeling slightly deflated, barring the doors once again with a tree branch to prevent unwanted visitors into the theatre.

The old bank connected to the Fort Scott Scottish Rite building. Photograph by Wendy Waszut-Barrett, November 2015.

Old Fort Scott bank adjacent to Scottish Rite building. Photograph by Wendy Waszut-Barrett, November 2015.

Detail of old safe in abandoned Fort Scott bank. Photograph by Wendy Waszut-Barrett, November 2015.

We went on to examine the staircase leading to the space above the auditorium ceiling. In all of my travels, I have crawled high above stages and balanced on planks above plaster ceilings. Every time, it was a treasure trove of artifacts left by the original workmen. Unexpected finds often included Prince Albert in a can, old newspapers, tools, and other abandoned artifacts long forgotten by various individuals. This investigation is always delightful when accompanied by fellow explorers, each seeking clues from a long-forgotten time. Although short and uneventful, this quest formed a basic foundation for the entire project.

Top of staircase leading to space above auditorium at Fort Scott Scottish Rite theater. Photograph by Wendy Waszut-Barrett, November 2015.

View of Fort Scott scenery collection from organ room above the proscenium arch. Photograph by Wendy Waszut-Barrett, November 2015.

Returning to the stage floor, we slowly began the time-consuming process of pairing drops to create the appropriate settings for each degree. We also tried to backlight any transparent area. Lighting was limited as many of the stage lights were missing. I would soon realize that we had not viewed the entire Fort Scott collection during our August visit. There were many more than 80 drops, 94 to be exact. That was eighteen percent more scenery than I had anticipated for this project. In the big picture, all of my estimations were off and it would be a challenge to complete the project before Thanksgiving.

This was a direct result of the CEO ignoring my expertise and request to complete a proper evaluation. Ironically, I would end up shouldering the blame for his ignorance.

View of the stage left side of the Fort Scott Scottish Rite stage and the bottoms of the drops. Photograph by Wendy Waszut-Barrett, November 2015.

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 7.

Part 7: Arriving in Fort Scott

On November 1, 2015, I drove into the parking lot of the Fort Scott Sleep Inn & Suites. This would be my home for the next three weeks. After unloading all of my supplies and setting up the suite as my out-of-town office, I contacted the local Scottish Rite representative. He welcomed me to town and offered to take me out for dinner at a local restaurant. He and his wife picked my up at 6:00 PM and we headed to a local bar and restaurant called Sharky’s. By the end of my stay in Fort Scott, I would have sampled everything offered on the Sharky’s menu.

“A plate full of fried miniature deliciousness” describing the Mini Tacos & Burritos on the Sharky’s menu in Fort Scott, Kansas. This would make me chuckle every time that I read it in the evening.

I learned that John’s wife was the current mayor of the town, and they both were intellectuals. The couple had heavily invested in Fort Scott over the years, not only at the Scottish Rite, but also in the downtown area where there were continued attempts at revitalization. They had recently purchased a local storefront on Main Street and had high hopes for an upward swing in business, also being part owners in the Sleep Inn & Suites.

I was invited to a variety of upcoming social events, but had to respectfully decline – noting that I would have my hands full with supervising the scenery removal.

They also wanted to share a recent situation that had occurred in the Scottish Rite Theatre concerning a local resident who had lived in the building for a while. I was being told this tale as I might notice some things that appeared odd since my last visit – like a couch that had been placed in the balcony area. There were two reasons for sharing this story, the first was to suggest that the scenery might have been handled during the lodger’s stay. The second reason to share the story was my safety and the safety of my crew. Although I was assured that they were in possession of all building keys, I was to keep an eye out for uninvited visitors. If anyone was to enter the space not associated with the Scottish Rite, I was to contact John right away. This caused me some uneasiness about our upcoming working environment and what we were walking into as there might be more going on, such as a hostile undercurrent resulting from the sale of the scenery.

I was representing a business with millions of dollars at our disposal taking one of the last things of value from this small town. During our August visit, the CEO had made clear that Minnesota Masonic Charities’ had deep pockets to fund this endeavor; they could write a check for any amount to both purchase and restore the collection.

Fort Scott was an economically depressed community with a median income of $18,000-$24,000 per year, and the pride of the community was at stake. This had once been a booming town of industry and there were reminders everywhere of their thriving past. It could become a difficult project if we were not fully welcomed by the local citizens. It was a small enough town to realize that everyone knew what was going on in the community and all of the new projects– especially our initial offer to purchase the entire scenery collection for $2,500.

The mayor asked if I would be amenable to a newspaper interview. We discussed how this entire endeavor must remain a positive and noble effort to preserve the material heritage of both Fort Scott and the Fraternity. Not a large business swooping in to gut the town.

To be continued…