Scottish Rite Theater – Page 11

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: 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…

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…

Tales from a Scenic Artist and Scholar. Part 355 – California Here I Come!

Part 355: California Here I Come!

Thomas G. Moses started preliminary negotiations for the resale of the Little Rock scenery to the Pasadena, California, in 1921. Moses would later join the Fraternity and become a member of the Pasadena Scottish Rite. I want to take a moment to explore why he possibly spent so much time trying to relocate the old Little Rock scenery to Pasadena. Furthermore, why would he join the Scottish Rite in Pasadena and not Chicago, especially when he was dividing his time between Chicago and Oakland? I believe that he preferred the degree work of the Southern Jurisdiction; the designs were more familiar to him. In 1926, Moses wrote, “I feel that we are a trifle shy on the proper designs for the northern jurisdiction, which are somewhat different from our southern, of which we have done by far the most.”

Moses also had an artistic connection and an emotional attachment to the 1896 Little Rock scenery collection. As a member of Pasadena, he would continue to see not only some of his best work, but also that of his good friend and mentor, David Austin Strong, another Sosman & Landis artists who Moses credited as the “Daddy of Masonic Design.” I think it was much more than making a dollar on a used scenery collection, or even trying to offload some old product. I believe that Moses carefully considered which Scottish Rite that he would join, and what painted scenery he would want to see during degree work. He also donated fine art to the Pasadena Scottish Rite when he became a member.

So, the original Little Rock scenery still hangs above the Pasadena stage and is used. Although it has been repeatedly tampered with over the years, and added to by other studios, the remnants of late-nineteenth century art are visible, as well as the individual paintings of Moses and Strong.

Today’s scenery at Pasadena, Yankton, Salina, and Austin all share one thing in common; they are some of the earliest installations in the Southern Jurisdiction and all have backdrops painted by Strong. His work is some of the most beautiful scenic art that I have ever encountered and he was credited as being the last American scenic artist to represent the Dusseldorf school. Walter Burridge affectionately referred to Strong as “Old Trusty.” Fellow scenic artists heralded Strong’s skill, his “facile brush,” and his “quality of opaqueness” (Chicago Tribune, Dec. 18, 1892).

An example of what I believe to be David Austin Strong’s work. This is a detail from a Little Rock drop currently hanging in Pasadena.

I am currently in Pasadena Scottish Rite to repair the crucifixion backdrop at the Scottish Rite; it ripped in half and plummeted to the stage. A few years back, I completed a similar repair in Grand Forks when their Hell scene split in two. The Pasadena version, however, is almost beyond repair as there is other extensive damage throughout the composition. My flight arrived quite early this morning, after a series of delays, so the day is starting out a little slow.

Luckily for me, there will be some “dry time” while I am on site completing the repair. I intend to look for more clues indicative of the studio practices at Sosman & Landis from the late-nineteenth- through early-twentieth century. If anything, I have promised Rick Boychuk some detailed rigging pictures as I believe that the system may be from the 1902 Albert Pike Consistory in Little Rock.

To be continued…

Tales from a Scenic Artist and Scholar. Part 354: The First Little Rock Scottish Rite Scenery Collection – 1896, 1899 and 1902

Part 354: The First Little Rock Scottish Rite Scenery Collection: 1896, 1899 and 1902

The first three times that Scottish Rite scenery was manufactured by Sosman & Landis for Little Rock, Arkansas, were 1896, 1899 and 1902. They were likely three expansions to the same collection that found a permanent home in the 1902 Albert Pike Consistory building. An entirely new scenery collection replaced this combination in 1924; it was also produced by Sosman & Landis and created for the Albert Pike Memorial Temple.

The first Scottish Rite scenery collection was delivered in 1896 to the Albert Pike Cathedral; this scenery was for the Little Rock Scottish Rite on Center Street. A Jewish synagogue was remodeled and equipped for $12,000. The 1896 collection was expanded in 1899 when additional scenery was purchased for the same space. The Scottish Rite remained in the converted synagogue until September 1902 when the Scottish Rite Consistory was completed. As with many Valleys, the dramatic increase in membership demanded a larger home, so a second building was constructed, moving the Scottish Rite from Center Street to the northwest corner of 8^th and Scott. This new building was remodeled and enlarged by 1913; the expansion incorporated the 1902 building into the complex, but added a projecting front bay and triangular pediment supported by four fluted Ionic columns.

Picture from 1925 Souvenir program depicting the 1902 Albert Pike Consistory and its remodel in 1913.

There was a fire on August, 27, 1919, that burned down a Masonic building in Little Rock, but it was not the Albert Pike Consistory; it was the Masonic Temple building. Fire destroyed the seven-story Masonic Temple complex where the Grand Lodge of Arkansas and the York Bodies were located at 5^th and Main. However, the destruction of the Grand Lodge and York Rite spaces partially instigated the planning and construction of a new Masonic complex in Little Rock – the 1924 Albert Pike Memorial Temple. This new building would house all of the Masonic Bodies in Little Rock, including the Scottish Rite. Ground was broken for this new structure on December 3, 1921; the cornerstone laid on May 11, 1922, and the building dedicated by May 12, 1924. The cost of the 1924 three-story building was $1.5 million dollars.

The 1924 Albert Pike Memorial building in Little Rock, Arkansas, pictured in a 1925 Souvenir program.

Thomas G. Moses’ resumé lists the scenery for Little Rock’s 1896 and 1902 installations, but not the 1899 scenic additions. That year Moses was primarily out of the studio, traveling and contemplating another departure from Sosman & Landis. By 1900, Moses left Sosman & Landis to form a new partnership with Will Hamilton in New York City until 1904 (Moses & Hamilton). His taking credit for the 1902 scenery collection suggests that it was the same 1896/1899 scenery, or another expansion of the original scenery collection. Even the 1904 “New Age Magazine” article describing in detail the Albert Pike Consistory did not suggest the purchase of a brand new scenery collection for the building.

Here is an excerpt from the article, written by SGIG Charles E. Rosenbaum. This article really established Little Rock degree productions as the gold standard for degree work in the Southern Jurisdiction:

“It is claimed, and we do not doubt that it is true, that the stage equipment in Little Rock is the most perfect in America – not only for Masonic purposes, for which it is used exclusively, but from any point of view. It is said by theatrical experts that nowhere else in America, with the possible exception of one theater in New York, and one in Chicago, it is possible to produce either the scenic or electric effects that can be produced on this stage. There are over one hundred drops all so perfectly counterweighted that the heaviest as well as the lightest in weight moves easier than a well-balanced window sash in a private residence. In addition to the drops, there are nearly one hundred set pieces of various sizes, to make the scenic equipment complete, and with the elaborate incidental property the scenic equipment is one of great magnitude.

The electric equipment is perhaps more elaborate, and of greater magnitude, if such a thing can be possible, and some ideas of its capacity may be gathered when it is known that with the numerous border rows, ground rows, strips, bunch lights, arc projectors, lens boxes and spot lights, there is a capacity of more than six thousand sixteen-candle-power lights on the stage alone. All these are handled with great effect and with the precision of beauty through the medium of a specially designed switch board, the creation of Brother Bestor G. Brown, who has given much thought and labor to stage and electric equipment, and is a recognized authority on the subject. It must be understood that a Scottish Rite stage is not to be conceived as a theatrical stage, for when so considered much of its effective use is destroyed, but when used as a combination with the floor of the auditorium, giving to the initiate a beautiful picture for the eye, while at the same time he is lending an attentive ear to the lessons that are being taught, the use of such a stage will be understood and correspondingly valued.”

Notice at this point that Rosenbaum is really walking a very fine line, knowing that Pike had condemned melodramatic productions for degree work. He is defending the implementation and use of degree productions.

The article continues: “The Bodies of Little Rock were pioneers in the use of a stage in the Southern Jurisdiction. It was to be expected that when they constructed their present magnificent and perfectly equipped building, the experience gained not only through their own efforts but through those of others who, in the meantime, had adopted the use of the Scottish Rite purposes, would give them just what, in fact, they have, the most perfect one in the land. Our experience was of great value in designing and equipping this building, which would we think, be credit to even the largest city in the United States. For this reason, it is particularly noticeable and a source of admiration of the part of all who visit it. Many Brethren of distinction have come from great distances on committees, or as the representatives of Bodies located elsewhere, for the purpose of observing its excellent arrangement and equipment and utilizing them in other buildings.”

The 1902 scenery for the Albert Pike Consistory is still used, just by another Scottish Rite Valley – Pasadena, California. In an interesting turn of events, I depart for Pasadena this afternoon to repair one of their scenes. I will take a break from my blog for the next few days to cover my project for the Pasadena Scottish Rite.

Original shipping label on bottom batten for the Scottish Rite scenery. This scene is now used at the Scottish Rite in Pasadena, California.

The backside of a scene in Pasadena, California, that depicts the original label and size of the scene for Little Rock Arkansas measuring 16 x 30. The fabric extensions were previously painted panels that were sewn on to the Little Rock drop.

Camp scene consisting of two leg drops and a backdrop for the 1902 Albert Pike Consistory Building. The backdrop and second leg drop for this scene are now used at the Pasadena Scottish Rite.

The original backdrop created for the 1902 Albert Pike Cathedral, now hanging in the Pasadena Scottish Rite. The first leg drop was not included in the scenery purchase from Little Rock negotiated by Thomas G. Moses in 1923.

To be continued…

Tales from a Scenic Artist and Scholar. Part 353 – 1898 Scottish Rite Scenery for Wichita, Kansas

Part 353: 1898 Scottish Rite Scenery for Wichita, Kansas

Bestor G. Brown set his sites on a new project after completing the Albert Pike Cathedral in Little Rock, Arkansas – Wichita, Kansas. Keep in mind that Brown was a leader with a magnetic personality, well known for his eloquence. He was frequently praised for his deep understanding of Masonic ritual and its theatrical interpretation on a Scottish Rite stage. Brown had many loyal fans throughout the course of his career, not just in Kansas, but throughout the country. All of these factors made Brown a natural to sell fraternal supplies and promote degree productions. But there was also something else that made him unstoppable – he was also working from the inside out.

In addition to representing M. C. Lilley & Co., Brown was the stage director for the Wichita Consistory. This allowed him to speak with clients from a position of experience and deep understanding of the demands for various degrees. He wasn’t just a member, he was an extremely active member. As active members, it only took a few key individuals to systematically market the new degree paraphernalia. A fairly small group of individuals established the “gold standard” and it became the most sought after degree experience to share with the Fraternity. Because they were all members, these men were able to successfully communicate with degree participants and degree directors.

Even though Brown’s primary residence was in Chicago from 1892 to 1898, he remained extremely active in Kansas Masonry, as well as other fraternal orders such as the Odd Fellows and the Knights of Pythias. I cannot imagine where he found the time to do it all. He was a salesman who intimately knew the fraternal market and what his clients really needed in each area for a successful production or ceremony. He was able to speak their language as both a member and a degree participant.

In Wichita, Brown recommended the purchase and renovation of an existing building. A stage for degree productions was included in the renovation plans during 1898, led by Brown. The Valley of Wichita purchased the Young Men’s Christian Association for $20,339.90 and during January 1898, and extensively remodeled the space to include a 300-seat auditorium. The planning and construction was similar to that in Little Rock, during 1896.

The Wichita Scottish Rite Bodies renovated an existing building to include a stage in 1898. The building was enlarged again to included a new auditorium and banquet hall less than a decade later. Photo showing new addition on right, ca. 1907.

The second member from Wichita to aid in the theatrical interpretations of Scottish Rite degree work was Henry Wallenstein. Born in Cincinnati, Ohio, Wallenstein moved to Wichita at the age of twenty-seven and entered the mercantile business, becoming a co-owner of the business by 1886. As with Brown, Wallenstein was also a well-known “staging expert” for the Scottish Rite degree productions in the area. Later, the Wichita Scottish Rite bodies noted Wallenstein’s contribution to the successful dramatization of degree work as his outstanding achievement in Masonry. Both Wallenstein and Brown greatly facilitated the Southern Jurisdiction’s inclusion of theatrically interpreted degree work on Scottish Rite stages throughout Kansas and the region. With the backing of M. C. Lilley & Co. and the assistance of Sosman & Landis they were on a roll, and unstoppable. There was too much money being made from the initiation of new members to cause the Supreme Council to shut down these new activities.

So by 1899, Brown had returned to living in Topeka, Kansas, and was deeply involved in the planning of the new 1900 Guthrie Scottish Rite stage. Immediately after the Wichita Scottish Rite was completed, the SGIG of Oklahoma (Harper S. Cunningham) brought in Brown, Wallenstein and Charles E. Rosenbaum to help with his new project. Cunningham would later be heralded as the Scottish Rite’s “Temple Builder.” He was involved with not only the Scottish Rite stage in Guthrie, but also the first one in McAlester, Oklahoma, before moving to Santa Fe, New Mexico.

This is where is gets interesting. The three brought extensive knowledge and experience to the project. Cunningham watched them incite enthusiasm and anticipation for the new Masonic space. In later years, Cunningham would use this same technique in Santa Fe, New Mexico. There, he would attain the support of the membership and prepare them for the new stage as their building was being planned (the 1912 Moorish-revival style complex). In 1908, Cunningham would negotiate the purchase of the original McAlester scenery for Santa Fe.

Drop curtain pictured at the McAlester Scottish Rite, also called “the Tabernacle” in 1904.

Same drop curtain purchased by the Santa Fe Scottish Rite in 1908 to practice degree productions while their new building was being planned. The picture is from the Masonic Hall on Water Street in 1909 with Harper S. Cunningham seated in the center.

At this same time, some of the original 1898 scenery from Wichita was purchased by Yankton, Scottish Rite. This was after the Wichita Scottish Rite building added a larger auditorium and dining hall.

Scene produced by Sosman & Landis for the 1898 Wichita Scottish Rite stage. Image from 1898 Fall Reunion program.

Same scenery as pictured above in 1898 Fall Reunion program for Wichita Scottish Rite. The scenery original produced for Wichita is currently used by the Yankton Scottish Rite.

The original Scottish Rite scenery location is still visible on the backside of scenery currently used in Yankton. South Dakota.

Backside of a scene depicting an original Sosman & Landis shipping label. This 1908 shipping label is identical to one found on a Winona Scottish Rite counterweight arbor, dating from 1909.

Records would also indicate that Yankton purchased some of the original Guthrie scenery when M. C. Lilley divided the Guthrie collection between Yankton and Austin. The original scenery collections were like trading in used cars and receiving credit for a new car purchase.

Both the original Wichita (1898) and Guthrie (1900) scenery collection were created by Sosman & Landis when they were subcontracted by M. C. Lilley.

To be continued…

Tales from a Scenic Artist and Scholar. Part 352 – How to Succeed in Business

Part 352: How to Succeed in Business

I want to start with an Albert Pike quote that was published in “Gen. Albert Pike’s Poems” (1900): “When I am dead, I wish my monument to be builded only in the hearts and memories of my brethren of the Ancient and Accepted Scottish Rite.”

Original oil painting of Grand Commander Albert Pike at the Scottish Rite in Yankton, South Dakota.

Not really following that direction, the Valley of Little Rock constructed the 1896 Albert Pike Cathedral, one of the finest Scottish Rite Cathedrals in the country at that time – with a stage. This is like a funeral that is really intended to comfort the living. The Albert Pike Cathedral was constructed for the living, not to honor Pike’s wishes; I doubt that the inclusion of a stage for degree productions was what Pike envisioned as any lasting monument. Let’s look at the individuals who were instrumental in designing the building.

Bestor G. Brown as Grand Master, Kansas (Topeka Daily Capital, 14 February 1904, page 6)

Remember that Bestor G. Brown was an investment banker who became a fraternal salesman. Brown supervised the inclusion of a stage for the Albert Pike Cathedral during 1896. He was heartily praised by Charles E. Rosenbaum (SGIG Arkansas). Later, Rosenbaum would head the committee who was “charged with the work of erecting the House of the Temple” (The Washington Post, 19 October 1915, page 5). In the big picture, Rosenbaum quickly became a big deal in the Scottish Rite. He would also be an Inspector General for Washington, D.C. during the opening ceremonies for the House of the Temple. This was in addition to being the SGIG for Arkansas.

Charles E. Rosenbaum, from Evening Star (Washington, D.C.) 13 May 1910, page 3.

So who was Rosenbaum? Rosenbaum was reported to be “an enterprising machinery supply man” from Arkansas (Arkansas Democrat, 24 May 1900, page 2). He was listed as a well-known mill-supply dealer in some papers and a designer in others; he had engineering skills, mechanical understanding, and charisma. The Arkansas Democrat reported that Mr. Chas. E. Rosenbaum was “generally recognized as one of the most skillful and artistic designers in the country” (Arkansas Democrat, 22 April 1899, page 6). Hmm.

One of Charles E. Rosebaum’s advertisements (Arkansas Democrat, 8 Oct 1900, page 2)

One of Charles S. Rosenbaum’s advertisement, Daily Arkansas Gazette (23 August 1899, page 3)

One of Charles E. Rosebaum’s advertisement from Daily Arkansas Gazette (7 Sept 1899, page 8)

So there is Rosenbaum who has an understanding of machines, maybe is an inventor, and some skills in the area of artistic design. This means that he can understand visual information, a good quality during planning and construction of a building. Brown could likely envision what a Scottish Rite theater looked like, as well as its potential appeal. Then there is Brown who not only understands banking and finance, but is also a successful salesman, Masonic ritualist, and fraternal supplier. Toss in Joseph S. Sosman with a well-respected reputation for running a quality scene painting business. Sosman’s asset is Chas. S King, genius stage mechanic who is in his employ. Presto! You have a recipe for success and a team to skillfully market degree productions and Masonic stages. The added bonus is that they are marketed by a nationally known brand – M.C. Lilley & Co., one of the largest and most-recognized fraternal suppliers at that time.

Undated newspaper clipping of Joseph S. Sosman. It was pasted in Thomas G. Moses’ scrapbook (Harry Ransom Center, University of Texas – Austin).

Freemasonry was big business when you consider the need to purchase rituals, officer jewels, costumes, paraphernalia, rugs, furniture, etc. The Scottish Rite required even more fraternal “stuff.” Instead of supplies and décor for three degrees, they had twenty-nine degrees (4^th through 32^nd), this had the potential for really big business. Any Scottish Rite would be a prime catch for a fraternal salesman, especially if they intended to dramatize the majority of their degrees. A decade later, most Scottish Rite orders would be 80-100 backdrops. Then think about the lights, rigging, costumes, props, etc. If the use of degree productions caught on with the other Masonic orders and new rites, business could absolutely explode – and it did.

Thomas G. Moses attributed the immediate success of degree productions in the west to the efforts of Rosenbaum, Brown and Sosman. After receiving a photograph of Rosenbaum in 1930, Moses wrote, “I don’t know how to thank you for the wonderful portrait you have been kind enough to send me. I will now have the 3 men that had all to do with the starting of the scenic decoration of the Scottish Rite Degree work, Rosenbaum, Brown & Sosman.” Sosman and Moses would have worked with Brown when they were all living in Chicago from 1892 to 1898.

So why was the Southern Jurisdiction such a big fat catch? Why hadn’t this happened in the Northern Masonic Jurisdiction (NMJ), in the major metropolitan areas in the northeast? I believe that it was simply because the movement wasn’t organized by the suppliers. It was driven by competition from within the Fraternity and not an outside market. Nothing was really planned, just installed as rival Supreme Councils competed for membership. He with the most members would win. Individual artists, often with Masonic ties, secured NMJ projects. With Pike gone, the Southern Jurisdiction was ripe for the picking. I like to think that it wasn’t a decision solely driven by money when allegiances formed, but the possibilities must have been tempting.

This was the start of a Scottish Rite Theatre building boom. There is a quick succession of ever-increasing Sosman & Landis scenery installations throughout the Southern Jurisdiction directly supervised by Brown: Little Rock (1896); Oakland, California (1896); Wichita (1898); additional scenery for Little Rock (1899), Guthrie (1900); Salina, Kansas (1901); Little Rock, again (1902); Portland, Oregon (1902), and the list goes on.

To be continued…

Tales from a Scenic Artist and Scholar. Part 351 – Bestor G. Brown, “Masonic Stage Carpenter”

Part 351: Bestor G. Brown, “Masonic Stage Carpenter”

Bestor G. Brown (1861-1917) was another key individual in the development of Masonic stages during the late-nineteenth and early-twentieth centuries. He was an instrumental figure in the promotion of Scottish Rite degree productions across the country.

Bestor G. Brown. Topeka Daily Capital, 14 February 1904, page 6.

Brown was born at Blufftown, Indiana during 1861. The Browns soon moved to Kansas with his parents. His father, George S. Brown was a law partner of Judge John Guthrie. Bestor attended public schools and became a reporter for the Topeka Daily Commonwealth at the age of 16. Later he was in charge of the city department before leaving to study law, attending the University of Michigan. In 1884, he married Emma Kellam, who died only a few years later. In 1891, he advertised as an investment banker in the Topeka Daily Capital with offices in rooms 6 and 7 of the Topeka Bank Building. Brown’s ads listed him as “a dealer in high grade municipal, county, school and corporation bonds. Trust certificates bearing from 5 to 8 percent interest issued to investors. Prime Commercial Paper a Specialty. Correspondence Solicited.”

However, Brown soon turned to Masonic regalia and paraphernalia sales, suggesting that this was quite a lucrative field for an ambitious Mason. It is important to note that up until this point he had no experience with technical theatre or commercial stages. In 1892, he listed residence as Chicago, moving just in time to be part of the preparation for the Columbian Exposition. Brown was based in Chicago from 1892 to 1898; working as a fraternal traveling salesman. He returned to Topeka, Kansas in 1899 and later moved to Kansas City by 1904, becoming the western sales manager of M. C. Lilley Company.

Letter head for western representative, Bestor G. Brown, of the M. C. Lilley & Co.

Brown was reported to be “one of the most profound students of freemasonry and ritualists in the whole country” (The Kansas City Kansan, 11 July 1918, page 1). He was noted as “connected with practically every movement which Masons launched in Kansas for many years.” This was imperative if he was to sell fraternal regalia and paraphernalia.

Brown’s Masonic resumé included involvement in the Scottish Rite, York Rite, Midian Shrine, and the Order of the Eastern Star. He was also a member of the Odd Fellows, Knights of Pythias and organized several chapters of the Psi Upsillon Fraternity. Masonic work included being Grand Master for the Grand Lodge of Kansas; Past High Priest of the Grand Chapter, Royal Arch Masons of Kansas; Past Master (and one of the first members initiated) of Siloam lodge, No. 225, A.F. and A.M.; Past Grand Master of the Grand Council; Past Grand Commander of Knights Templar in Kansas; General Grand Scribe of the General Grand Chapter of Royal Arch Masons; a Past Grand Sovereign of the Grand Imperial Council of the Red Cross of Constantine; and at the time of his death was an officer in the national Grand Council. Brown also had the distinction of having sat at the Royal Lodge in London when King Edward presided (Fort Scott Daily Tribune, 12 July 1917, page 2).

An article on Bestor G. Brown, crediting him as the “only Masonic stage carpenter” in the country (Portsmouth-Herald, 12 July 1903, page 3).

Brown was also a traveling salesman and western representative of M. C. Lilley and an “authority on the costumes for Masonic Bodies, having made a deep study of the subject in France and England.” In 1903, the Portsmouth Herald reported that Brown, who was the new Grand Master of Kansas, had been “unusually active” in lodge, chapter and council work since his admission to the Fraternity in 1884.

He was praised for his devotion of Masonry and the article reported, “Mr. Brown is called the only Masonic stage carpenter in the country” (Portsmouth, New Hampshire, 12 June 1903, page 3). Less than a decade later, the counterweight system installed in Scottish Rite theaters by M. C. Lilley subcontractors (Sosman & Landis) was referred to as “”Brown’s special system.” My research suggests that the stage machinery was actually developed by the stage mechanics at Sosman & Landis, not by Brown. This would be understandable as Brown came from a banking background and had no experience with theatre technology or supplies prior to 1892.

Brown was the salesman and possibly marketing technology developed by Charles S. King, a long-term Sosman & Landis studio employee who had completed 200 theatre installations by 1899. King started his career as a stage carpenter and stage machinist in 1859 and began working for Sosman & Landis in 1884. In 1903 newspaper articles note that Brown “created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States.” Again, I think that he was associated with the system because he was selling the product and not the designer.

Brown died in 1917 at the Battle Creek sanitorium after a relapse following an operation for kidney complications. Brown was 56 years old. He was survived by his daughter, Mrs. Dana L. Davis of Topeka. For the past few years of his life, Brown had been living in Kansas City while continuing to work in the western offices of M. C. Lilley Co.

The first year after Brown passed away, members of the Wichita Consistory organized an annual pilgrimage to Topeka, Kansas, to honor of his memory (The Kansas City Kansan, 11 July 1918, page 1). The paper reported that Brown was “one of the most scholarly and best loved Kansas Masons. All of the Scottish Rite bodies in the state were invited to join in the placing of a floral tribute on the grave of ‘their best loved brother.’”

To be continued…