Scottish Rite Theater – Page 13

Tales from a Scenic Artist and Scholar. Part 110 – Jesse Nusbaum and the Santa Fe Scottish Rite, 1912

Well-known photographers occasionally capture Scottish Rite spaces. In the case of the Santa Fe Scottish Rite Cathedral, Jesse Nusbaum documented both the interior and exterior of this Moorish Revival style complex in 1912. Nusbaum was also an archeologist and three-time superintendent of the Mesa Verde park from 1921-1946. Many of his photographs are now located in the Palace of the Governors Photo Archives in Santa Fe, New Mexico. Their collection includes an estimated 1,000,000 items, such as photo postcards, panoramas, stereographs, photographs, glass plate negatives, film negatives, lantern slides and many other materials. It is a site well worth investigating. Here is the link: http://www.palaceofthegovernors.org/photoarchives.html

Santa Fe Scottish Rite Cathedral, 1912. Photograph Jesse Nusbaum. Original image located at the Palace of the Governors website.

Jesse Nusbaum, self portrait. Original image located at the Palace of the Governors website.

In addition to the images of well-known photographers, Masonic journals and other fraternal publications recorded the extravagant interiors of new Scottish Rite buildings when they were first completed. A 1904 article from “New Age Magazine” details the interior of the new Albert Pike Consistory in Little Rock, Arkansas, including a full-page layout of their new theater with a Sosman & Landis scenery collection.

“New Age Magazine” 1904. Little Rock, Arkansas, Albert Pike Consistory theater. Photograph by Wendy Waszut-Barrett.

Contemporary images of some Masonic theaters are also available online, the bi-product of wedding ceremonies, dance recitals, and other community or rental events. Today’s amateur photographers capture the ornate interiors while visiting Scottish Rite facilities all across the country. Luckily, the internet has preserved many of these details that might otherwise fade from public record. I frequently do image searches just to see if anything new has popped in terms of painted scenery collections in Masonic theaters that I have yet to record. While searching for vintage images of the Fort Scott Scottish Rite auditorium, I recently located a Class picture . This image depicts a contemporary group of candidates seated in front of the stage with the grand drape. This might be one of the last images of this dry rotted curtain with the Scottish Rite eagle.

Fort Scott class in Scottish Rite theater. Photo posted on the Valley website.

What isn’t documented and available online from Fort Scott and most other historical theaters are the off-stage areas and hidden recesses in the building. These images were often never recorded. They are not located in public archives as the result of professional or amateur photographers. However, there are some in private collections. Luckily, theatre historians and practitioners have documented many “Behind the Scenes” photographs. Stagehands and theatre technicians from touring shows take pictures of lighting consoles, rigging systems, and other stage equipment that they have found fascinating while working at a Scottish Rite theater. The Archiving Technical Theatre History Facebook Group is one of many forums where historical images and information are exchanged by theatre professionals and academics. It is an immediate way to share information and preserve moments from the past. Some of us understand that we cannot wait for either funding or grants to disseminate information. Not everyone has the time or ability to share new discoveries. Action needs to be taken now.

I started www.drypigmet.net for just this reason. After years of collecting information and documenting painted details of scenery, I realized that only a few select individuals had seen my work. I wanted to leave a digital trail and share the information that I had gathered over the years to ensure its survival before being donated to a public archive. It also gave me an incentive every day for some much needed “R & R” – my own term for “research and reflection.” I am the perpetual student, always seeking knowledge and trying to learn something that I did not know the day before. I rejoice in sharing my findings as I decode theatrical heritage and scenic art techniques. Posting various images of buildings, catalogues, lights, counterweight systems, painted curtains and costumes, often leads to other discoveries and future finds. When we do not share our knowledge, many discoveries die with us in a state of isolation. I look at John Rothgeb’s paper at the University of Texas and realize that I simply replicated much of the information he had already uncovered when I wrote my dissertation. He just hadn’t shared much of his research.

Had I just spent one month of graduate school at the Harry Ransom Center, my studies might have advanced to a different level. Yes, it is extremely satisfying having my own conclusions verified by another before I even started thinking about them. Ironically, the missing holes in much of Rothgeb’s research were filled by my discoveries and vice versa. Valleys where Rothgeb added question marks were areas that I evaluated and conducted extensive research. It is extremely frustrating to realize that we just missed each other by a few short years. He was passing out of the picture as I was just entering it.

To be continued…

Tales from a Scenic Artist and Scholar. Part 109 – Remembering the Fort Scott Scottish Rite

The Scottish Rite building in Fort Scott was a testimony to the rapid expansion of Freemasonry during the early twentieth century. Kansas was once home to seven Scottish Rite Valleys that included Salina, Wichita, Kansas City, Fort Scott, Fort Leavenworth, Topeka and Lawrence. Each Valley had a Scottish Rite theater that included a Sosman & Landis scenery collection, originating from 1901 to 1924. The state was extremely active in the staging of degree productions and innovative settings for degree work.

Postcard of Wichita, Kansas, Scottish Rite. One of many vintage postcards depicting Masonic buildings that are available for purchase online.

When the Fort Scott scenery collection left the state in 2015 for Minnesota, it was not the first Masonic scenery collection to leave its home and it certainly won’t be the last. The Fraternity in Kansas has been hit hard as their membership continues in a downward spiral. Thomas Frank’s 2004 book “What’s the Matter with Kansas? How Conservatives Won the Heart of America” places Kansas at the forefront of many National movements over the past century. Activities in this particular state often signaled a shift in social or public policy for the rest of the country. If we look at the track record, Kansas may be leading the collapse of the Fraternity and liquidation of all Scottish Rite facilities.

Fort Scott, Kansas, Scottish Rite complex. This corner shows the northern half that was constructed for the Western Insurance Company, Photograph by Wendy Waszut-Barrett, 2015.

Fort Scott, Kansas, Scottish Rite complex. This left half of the building shows the Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

When I was on site for three weeks during November of 2015 it was my home. I became familiar with every nook and cranny in the building, noticing memories from a grand past. It is worth revisiting some interior photographs that depict the beauty of the space that once held one of the most premiere Scottish Rite scenery collections in the United States. I wish that with the closing of each Scottish Rite theater, the interior decoration would be carefully documented for future study.

Front door of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Entryway with staircase leading to second floor theater at the Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Mosaic tile on floor of entryway of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

I think of the general lack of information about the interiors of many earlier eighteenth and nineteenth century lodge rooms. There are precious few photographs or illustrations as little is left beyond written records. I wonder if history is repeating itself as Masons begin to walk away from their century old investments without a backwards glance. As Masonic lodges close their doors, or move to a new facility, the members often fail to record the details. Departing Masons fail to document the unique construction, architectural styles or decorative ornamentation of buildings that have been their fraternal haven for decades.

Second floor theater lobby of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Detail over auditorium doorway of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Auditorium doorway leading to second floor lobby of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Detail from doorway of Fort Scott Scottish Rite auditorium. Photograph by Wendy Waszut-Barrett, 2015.

Sure, we can find postcards or a few photos depicting some Masonic interiors on eBay, but it is not the same. Let’s look at some of the history and architectural details that were treasured by Masons in Fort Scott. In 1900, the Scottish Rite Masons of Fort Scott purchased the old Huntington House hotel from J. D. Hill. Like many other Valleys, this building was extensively renovated and dedicated on April 28, 1904. M. C. Lilley outfitted the theatre, subcontracting all of the painted scenery production to Sosman and Landis of Chicago.

By 1920, the Fort Scott Scottish Rite membership expanded to 2,500 and plans were proposed for a new structure on the same site. They entered into a negotiation with the Western Insurance Company where the north half of the building would be reserved for the insurance company. The Western agreed to buy bonds to finance the two structures and later rent the ground floor offices. The southern section (Scottish Rite) was constructed first during the spring of 1923 and it was not until 1929 that the northern half of the building would be completed.

Door leading from the Scottish Rite building to the Western Insurance Company building, all part of the Fort Scott Scottish Rite complex. Photograph by Wendy Waszut-Barrett, 2015.

Designed in the Spanish Revival Style at a cost of $500,000, the concrete building was decorated with brick veneer on the sidewalls and stone/terra cotta on the east and north facades. In the mid-1940s, the Scottish Rite encountered financial difficulties, forcing the Western to foreclose on the bonds. At this time, the Scottish Rite retained title to the southern building and the Western acquired the northern building. By 1947, the Western completely remodeled their section and moved the main entrance. The theater on the second floor of the Scottish Rite remained unchanged – a lovely time capsule.

Doorways leading to backstage access of Fort Scott Scottish Rite theater. Photograph by Wendy Waszut-Barrett, 2015.

Doorway detail in Fort Scott Scottish Rite theater. Photograph by Wendy Waszut-Barrett, 2015.

Lighting under balcony of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Balcony detail of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Top corner of proscenium arch of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

Proscenium detail of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

The fate of the Fort Scott Scottish Rite has yet to be announced. The fate of the Western Insurance Company is in the hands of Flint Hills Holdings Co. This management, development, and investment group with offices in Kansas City, Dallas, and Lawrence, Kansas, transformed the old Western space into “35 luxury affordable units for seniors 55 years of age or older.” The company purchased the building at a tax sale for $1 and asked the City of Fort Scott to provide $1 million in financial assistance to help fund the environmental abatement, as well as the demolition of the non-historic building located directly to the west. In 2015, the estimated cost for the 2016 opening was estimated at $5 Million dollars. There are still some units available if anyone plans on moving to Kansas.

Webpage for new senior living in renovated Western Insurance Company building of Fort Scott Scottish Rite. Photograph by Wendy Waszut-Barrett, 2015.

To be continued…

Tales from a Scenic Artist and Scholar. Part 108 – Signs of the Times

At the end of every scenery evaluation, I always try to document the building and other items of interest. I may never return to that space again and it can provide context for later discussions about Freemasonry in that region. It is also helpful to place a Scottish Rite theater within a physical context when discussing a particular set of backdrops. The other rooms in a Masonic facility also provide a lot of information about that particular Valley and membership. What did the Scottish Rite Bodies perceive as valuable? In what areas did they invest substantial funds?

My favorite things to look for in a Scottish Rite building are the signs left by the “management” for the “cast” and “crew.”

Sign in Dressing Room for Degree Productions at the Moline Scottish Rite Cathedral. Photograph by Wendy Waszut-Barrett, 2017.

These reminders point to problematic areas and issues encountered during general use and Scottish Rite Reunions. Some signs are simply attempts to stop common practices when safety codes changed, such as smoking regulations. Recent “No Smoking” signs are located throughout many Masonic buildings, especially backstage areas and dressing rooms.

Moline Scottish Rite Cathedral sign in stage area. Photograph by Wendy Waszut-Barrett.

Occasionally, these signs are placed directly above ashtrays still in use. During many scenery evaluations, I have often encountered the pungent smell of cigars or cigarettes wafting down from the arbor rail. A typical shout will accompany the first cloud of smoke: “Don’t worry! Nothing’s on fire! It’s just me.” Other forms of vice can be found in the backstage areas. In Fort Scott, we uncovered the empty whiskey bottles, shot glasses, and a few spittoons tucked away under the last shelf in a stage left storage area and along the arbor rail.

Fort Scott Scottish Rite stage finds during 2015 scenery removal. Photograph by Wendy Waszut-Barrett.

Two shot glasses found off stage at the Fort Scott Scottish Rite during 2015 scenery removal. Photograph by Wendy Waszut-Barrett.

There are also the personal decorations of backstage areas with murals, cartoons, newspaper clippings, and photos. In McAlester, Oklahoma, a series of Egyptian hieroglyphs decorate the halls leading from the house right area, past the degree director’s office, and into the paint and supply room.

Photograph of painting near the Director of the Work quarters. McAlester, Oklahoma. Photograph by Wendy Waszut-Barrett, 2010.

McAlester, Oklahoma. Photograph by Wendy Waszut-Barrett, 2010.

In Fort Scott, a theatre sign denoted theater occupancy and included a point within a circle for the “o” in auditorium. How clever, the sign painter decided to make something Masonic without the majority of the general public ever realizing it.

Fort Scott, Kansas. Scottish Rite sign where “o” shows point within a circle. Photograph by Wendy Waszut-Barrett, 2015.

There were always the standard signs stating, “no food or drink in the auditorium” and “exit.” It made me think of contemporary parallels when entering performance spaces and current requests of “Please silence cell phones.” What will future generations think of us? The signs point to the times and activities. Even temporal signs will leave clues as to the building’s occupants. In Santa Fe, the door leading from the dressing room to the stage held two bright yellow sheets of paper that read, “No Loose Glitter! Hair ornament. Shoes tidy. Look Perfect! Smile! Have Fun! Be Radiant! Be a Star!”

Santa Fe, New Mexico, Scottish Rite Cathedral. Sign on wardrobe door left over from dance recital. Photograph by Wendy Waszut-Barrett, 2002.

That was a long message to a performer prior to making an entrance. Obviously, this was a left-over sign from a past dance recital, but I had to wonder how long it had remained posted and how many men had glanced at that same sign before performing in a degree production. Another Santa Fe favorite is a permanent neon sign on the back wall of the Auditorium. It reads “Louder, Slower, “ signaling amateur actors to either project their lines or slow down their delivery.

Santa Fe Scottish Rite neon sign on back wall of auditorium. Photograph by Wendy Waszut-Barrett, 2002.

Again, this shows the forethought to identify and address a continued problem. Some signs are unique insights to the world of Scottish Rite degree productions.

In the three hours that I was onsite at the Moline Scottish Rite, I took over 1500 photos. Of particular interest was a back stage sign that read, “No Smoking, No Profanity, Silence.”

Moline Scottish Rite Cathedral backstage sign. Photograph by Wendy Waszut-Barrett, 2017.

Sign above full length mirror at the Moline Scottish Rite Cathedral. Photograph by Wendy Waszut-Barrett, 2017.

I chuckled as I conjured up scenarios of the last incident that resulted in the creation of this sign. What was the last straw that broke the camel’s back? After all, it was placed stage left above a full-length mirror, suggesting that an actor was at fault before a stage entrance. Could a lit cigarette have accidentally burned something or someone, subsequently causing a burst of profanity from an individual during a contemplative part of a degree production?

I was also able to take extensive photos of the backstage and wardrobe areas. The Moline dressing room is located two flights down from the auditorium. It was much less impressive than the wardrobe rooms in Santa Fe, NM, or Wichita, KS. In the western region, many Scottish Rite dressing rooms included elaborate spaces with glass-faced cabinets displaying extensive costume collections and costume accessories.

The Moline dressing rooms included a standard space for the men to disrobe and leave their personal belongings, costume cabinets, wig shelves, and makeup tables. The one sign that made me laugh out loud started out as a beautifully hand-lettered: “Keep Wigs Off Until Made Up.” I could see someone trying to pull a costume over a very large wig, thus prompting the need for a sign. Signs were the answer to repeated complaints by the management, cast, and crew. Then the additional writing on any one sign specifies additional problems with on one issue. It was the permanent marker writing on the Moline wig sign that added, “Note! Your Wardrobe Man will put it on for You! Your Wardrobe Man will take it off, also!” I have to wonder if a fraternal actor went out on stage with his wig on backwards. At what point did the costume crew decide the cast should keep their hands off the wigs? My guess is immediately upon receiving the shipment of wigs.

Moline Scottish Rite Cathedral wardrobe room. Photograph by Wendy Waszut-Barrett, 2017.

Another Moline wardrobe sign noted “If Costume Needs Repair Report to Degree Captain.” This suggests a fairly advanced hierarchy in the wardrobe department, not always a common occurrence in every Scottish Rite theater.

Moline Scottish Rite Wardrobe room sign. Photograph by Wendy Waszut-Barrett, 2017.

As with the signs in commercial theaters or other public performance spaces, these are signs of the times.

Moline Scottish Rite Cathedral. Photograph by Wendy Waszut-Barrett, 2017.

To be continued…

Tales from a Scenic Artist and Scholar. Part 106 – The Moline Scottish Rite and the Holak Collection

It is exciting to identify the work of individual scenic artists. Looking for specific colors, brush strokes and other identifying marks is similar to a treasure hunt. Charcoal lines, pounce marks, and lining work can all provide clues.

Unlike the Fort Scott collection, most Scottish Rite installations were the work of multiple artists. However, all of the drops still needed to blend together as a unified whole once the collection were assembled on site. This is similar to choral singing when you don’t want any one voice to stand out too much. However, even when a single studio solely produced a collection there could be variations. Sometimes the work of an individual artist will become apparent upon close inspection. Even if the identities of these artists are unknown, we can still identify their artworks in a collective whole.

One discovery at the Moline Scottish Rite would bring my back to my first days as a scenic artistic and scholar while processing the Holak collection for the Performing Arts Archives at he University of Minnesota Libraries. Primary made up of Sosman & Landis designs, the Holak collection was the third of four scenery design collections acquired by Professor Emeritus C. Lance Brockman. Again, here is the link to the scenery collection database: https://umedia.lib.umn.edu/scenicsearch. My work at the archives as a student, research assistant, employee, and returning scholar would prove invaluable throughout the course of my career.

In 2000-2001, I assigned every word of metadata for each artifact in the scenery collection database containing the three collections: Twin City Scenic Company, Holak (Sosman & Landis and New York Studios), and the Great Western Stage Equipment Company. My duties involved determining five key words that best identified each of the 3000+ images in the online collection. At the same time, I was also assigning the subject, media, stage term and masonic degree for each image. Crosschecking my entries provided an opportunity to compare and contrast all three collections over and over again. At the time, I also requested the addition of another category that would identify the specific artist, or “creator,” of many designs. Only a few of the artworks were signed or linked to a specific scenic artist. This meant that I had to do a final inspection of all three collections to look for stylistic similarities that could link unsigned works with signed works. Remember, many of the artists worked at multiple studios, so all three collections had to be examined simultaneously.

In 2012, I returned to the archives as a volunteer and did metadata entry for a new acquisition -the Northwestern Studio collection. This work was completed over one term while I taught scene painting class at the Department of Theatre Arts and Dance. For me, it was another way to give back to my alma mater, but there was also a personal reason that I wanted to help process this collection; it was to familiarize myself with this new acquisition. There is something to be said about individually handling each artwork or document as you become intimately familiar with not only each artifact, but also the scope of the entire collection.

In addition to working with incoming acquisitions, I also completed a series of technical studies over the years to fully understand the compositional layout, color palettes, and painting techniques. Whether as an undergraduate student, graduate student, or professional, it was always a form of practice to improve my own painting skills. It also allowed me an intimate familiarity with some of the works – such as the gates of the city for the 15th degree.

University of Minnesota Performing Arts Archives, PA49, box 2, MSSCH027.

Twenty-eight years after first replicating this small design from the Holak collection, I encountered a similar painting style at the Moline Scottish Rite Cathedral during March 2017. I was photographing various painting techniques and noticed the unique painting of blocks for the Gothic Cathedral setting. The painting technique was almost identical to those rendered by the designer for the city gates. I copied this design as a nineteen-year-old because I was enthralled with the pink stonework.

University of Minnesota Performing Arts Archives, PA49, box 2, MSSCH026.

Moline Scottish Rite Cathedral scenery, 1930. Photograph by Wendy Waszut-Barrett, 2017.

It was very different from everything else that I had encountered in either the Holak or Great Western Stage Equipment Company collections at the time. Portions of the light base coat remained visible in the final composition, providing a texture for each stone. This base also forms some of the grouting before the addition of sparse lining.

As I photographed the painted details during the Moline evaluation, I finally understood what I had missed when originally replicating the pink stones. My own brush strokes were too formulaic. It made me think of the approach to painting foliage. There needed to be an organic feel when painting each stone – like the placement of leaves on a vine. I tucked this bit of information away for future painting projects. There is always something to learn from these historical collections.

Replica of Holak Sketch from Performing Arts Archives by Wendy Waszut-Barrett, 1990.

To be continued…

Tales from a Scenic Artist and Scholar. Part 102 – Two Scenery Collections at the Moline Scottish Rite, 2017

The Moline scenery collection can be divided into two categories: existing scenery that was refurbished for the 1930 stage and newly designed scenery created specifically for the new Cathedral stage. These two categories can be further subdivided into other groups that are identifiable by painting techniques characteristic of individual artists. The entire Moline collection does not appear as a unified whole with a shared aesthetic. I have to wonder if this was apparent to those who worked in the studio or who purchased the scenery.

The new scenery produced by Becker & Bro. during 1930 can be easily identified by the excessive the use of spatter. However, other identifying characteristics include the use of paint glazes, a predominance of primary colors, and unrefined line work.

A.A.S.R. 15th degree ruins painted detail from the Valley of Moline collection, 1930. Photograph by Wendy Waszut-Barrett, 2017.

In contrast, the oldest scenery lacks spatter, uses a richer color palette, has precise lining, and the paint application is much more refined.

Original scenery from the Valley of Moline refurbished in 1930 for the new stage. Photograph by Wendy Waszut-Barrett, 2017.

Painted detail from original wood setting. Valley of Moline refurbished in 1930 for the new stage. Photograph by Wendy Waszut-Barrett, 2017.

These older drops were already by the Valley of Moline were refurbished for the new stage in 1930. Although there is no documentation that notes who created the original scenery, almost all of the scenery has a Becker & Bro. studio label stenciled on the edge of each drop. Even those without any identification do not appear to be the work of either Sosman & Landis or Volland Studios. One other possibility may be that the earliest pieces were purchased piece-meal over the course of a decade and prior to 1925.

Good examples to show the variation in quality and style are the original wood scene and later 15th degree ruins and 21st degree ruined abbey settings. The Moline landscape depicts a more traditional style of scenic art and aesthetic associated with works produced from 1910-1920. There is a depth in the shadows and underlying warmth that is later replaced by a predominantly cool glaze. The tree trunks, branches and floral work suggest a skilled hand of a studio artist who was well versed in exteriors scenes and landscapes.

Original wood setting refurbished for the Valley of Moline in 1930 for the new stage. Photograph by Wendy Waszut-Barrett, 2017.

Becker lists in his scenery estimate from February 1930, that one of the “used” scenes for new stage is the wood setting. This scene is reminiscent of many other painted compositions created for both fraternal and commercial stages during the first two decades of the twentieth century. By the 1920s, many shadow areas in landscape compositions incorporate ultramarine blue. Cool hues dominate the recesses in theatrical landscapes during that time.

Painted detail from the 21st degree ruined abbey setting. Valley of Moline collection, 1930. Photograph by Wendy Waszut-Barrett, 2017.

It is possible that the variations of paintings techniques were due to the lack of consistent supervision in the Becker paint shop. John Becker was the primary designer and scenic artist for the company, whereas his brother primarily worked with the actual scenery construction and subsequent installation. John was also company’s main salesman, responsible for networking and contracting new work across the country. That meant he spent a great deal of time away from the studio. His continued trips and negotiations with the Valley of Moline are one such example. Was this the reason that many Becker & Bro. installations fail to depict a consistent quality and unifying style?

To be continued…

Tales from a Scenic Artist and Scholar. Part 101 – John C. Becker and the Moline Scottish Rite, Scrim Settings

The construction of the Moline Scottish Rite Cathedral occurred during the initial decline of Masonic theater construction. The prosperity of the Fraternity and the construction of massive edifices were slowly grinding to a halt by the early 1930s. Although some Scottish Rite Valleys would to occasionally appear across the country, the race to build impressive facilities primarily ceased with the onset of the Great Depression. The creation of the Moline scenery occurred the year before Thomas G. Moses began the creation of his own Masonic Model, hoping that his new designs would ignite an enthusiasm to purchase new scenery orders. Maybe Moses understood that the building boom was over and the majority of “new purchases” would revert to items directly associated with degree productions, ceremonial work, costumes, and paraphernalia.

As with Fort Scott, McAlester, and other Masonic scenery installations from the mid- to late-1920s, new designs appeared on Moline’s stage and are worthy of comment. These innovations reflect the changing times, John C. Becker’s ingenuity, the skill of Becker stage workers, and the magic of theatrical illusion. Two of the Moline scenes designated as “Gothic” used transparencies created with scrim.

Scrim drop at the Moline Scottish Rite. Photograph by Wendy Waszut-Barrett, 2017.

Painted detail of Gothic Interior scrim drop at the Moline Scottish Rite. Photograph by Wendy Waszut-Barrett, 2017.

Painted detail of the Gothic Scrim drop at the Moline Scottish Rite. Photograph by Wendy Waszut-Barrett, 2017.

The first “Gothic Interior Scrim” was the setting for the first section of the Eighteenth degree and suspended from line 5. This eighteenth degree scrim setting preceded three others that included a crucifixion scene, a Hell scene, and an ascension scene. Close the proscenium opening, the composition appeared as a simple stone colonnade with red draperies. The entire drop was constructed with scrim, a transparent material that was a predecessor to today’s Sharkstooth Scrim. A very light textile made from cotton, or flax, it appears opaque if lit from the front. It will become nearly transparent if primarily lit from behind, revealing hidden objects or actors.

View of auditorium from behind scrim drop at the Moline Scottish Rite. Photograph by Wendy Waszut-Barrett, 2017.

View from stage right side of scrim drop at the Moline Scottish Rite. Photograph by Wendy Waszut-Barrett, 2017.

The Gothic interior scrim was in remarkable shape with slight dusting and only some minimal damage along the original seams. As I stood upstage from the drop, I was astounded at the transparency. It was as if I was looking through a smoky window. I had never encountered a full scrim drop on a Masonic stage before. Transparent sections were common, but not entire drops. The largest section of scrim that I had even evaluated depicted an empty tomb opening with the two Marys and an angel (York Rite degree).

Scrim section for the revelation of the two Marys visiting the empty tomb and seeing an angel. Winona Masonic Theater, York Rite setting. Photograph by Wendy Waszut-Barrett, 2010.

Standard composition that is behind the cave opening scrim. This drop is from the York Rite theater at the Milwaukee Scottish Rite. Photograph by Waszut-Barrett, 2014.

The first thing that I noticed about the Moline scrim was that it was constructed with 36” wide fabric, horizontally seamed together. Surprisingly, these horizontal lines were virtually indiscernible from ten feet away, let alone anyone sitting in the audience. As with the sides of the scrim drop, all edges were reinforced with jute webbing to prevent fraying. The work was extremely well done and there was only one small spot where the seam had started to split. This provided an opportunity to examine the actual construction.

Jute webbing reinforcement on the Gothic Interior scrim drop at the Moline Scottish Rite. Photograph by Waszut-Barrett, 2017.

Split seam shpwing webbing reinforcement on the Gothic Interior scrim drop at the Moline Scottish Rite. Photograph by Waszut-Barrett, 2017.

Another scrim setting also called the “Gothic Interior” Scrim was used for the first section of the nineteenth degree. Remember that Moline in in the Northern Masonic Jurisdiction, and their degree settings began to radically depart from the Southern Jurisdiction degree interpretations just prior to WWI. The nineteenth degree in Moline used settings that depicted Hell, a stone interior, the Holy City, and a city in ruins. The stone interior setting also used a small section of painted scrim that later revealed a cross.

18th degree stone interior and transparent section at the Moline Scottish Rite. Photograph by Waszut-Barrett, 2017.

For the second Gothic interior, the central section of the drop included two hidden doors in the altar. These undetectable doors were noted as “Vampire doors” in the contractual agreement from Becker & Bro.

Gothic interior at the Moline Scottish Rite Cathedral with “Vampire doors” for the 19th degree. Photograph by Wendy Waszut-Barrett, 2017.

View from behind the scene. Gothic interior scrim section and Vampire doors at the Moline Scottish Rite Cathedral for the 19th degree. Photograph by Wendy Waszut-Barrett, 2017.

Vampire doors in the Gothic Interior setting at the Moline Scottish Rite Cathedral. Photograph by Wendy Waszut-Barrett, 2017.

The central altar was constructed of 1” thick lumber and supported by a wooden frame. This frame was suspended with wire from the top wooden batten.

Wire supporting wooden frame for Vampire doors in the Gothic Interior setting at the Moline Scottish Rite Cathedral. Photograph by Wendy Waszut-Barrett, 2017.

As with other practical doors and wooden frames, the painted surround was simply tacked onto the wooden surface. Other Moline scenes that incorporated transparent sections included the central section of an interior setting for the twentieth degree, the Traitor scene. Again, the translucency was undetectable when front lit. All of the scrim sections in the Moline installation were in remarkable shape and still hung from their original line sets.

Twentieth degree interior setting at the Moline Scottish Rite with scrim center. Photograph by Wendy Waszut-Barrett, 2017.

Twentieth degree interior with scrim section at the Moline Scottish Rite with scrim center. Photograph by Wendy Waszut-Barrett, 2017.

To be continued…

Tales from a Scenic Artist and Scholar. Part 100 – John C. Becker and the Moline Scottish Rite

In this complicated tale between the John C. Becker and the Moline Scottish Rite, the timeline for the planning and installation of the Scottish Rite scenery becomes quite fascinating:

1925 First consultation by John C. Becker & Bro. with the Valley of Moline. Becker presents a tentative scenery estimate.

1926 Becker presents another tentative scenery estimate to the Valley of Moline.

1927 Becker presents another tentative scenery estimate to the Valley of Moline.

1929 April. Becker pressures the Valley of Moline to finalize their scenery selection as other large Scottish Rite contracts are being negotiated.

1929 May. Cornerstone laying ceremony for Moline Scottish Rite Cathedral.

1929 October. Becker presents another scenery estimate for new Moline Scottish Rite cathedral stage. The inventory provides a thorough installation to stage all twenty-nine degrees.

1930 January. Becker requests some form of deposit or guarantee that his studio will receive a contract soon as work has already begun refurbishing some of the existing scenery due to the impending deadline.

1930 February. Becker sends three final contracts to the Valley of Moline for the refurbishment of existing scenery and the creation of new scenery.

1930 March. Valley of Moline accepts two of three contracts sent in February by Becker but doesn’t sign them.

1930 April 1. Howard C. Passmore of Moline Consistory signs two scenery contracts.

1930 May 2. Raymond H. Becker leads installation crew at the Moline Scottish Rite. During this same month, John Becker is in New York. They are suing Harry Rogers of Theatrical Enterprises for an overdue amount on a scenery contract.

1930 June. Becker begins inquiries about overdue balance for scenery and installation labor from the Valley of Moline. A new board has been appointed to the Scottish Rite Cathedral Association.

1930 July. Becker visits the Valley of Moline to inquire about the overdue balance. A few days later, Becker receives a letter from the Valley of Moline soliciting donations for their Commander-in-Chief.

The following correspondence was sent to John C. Becker from the assistant secretary at the Moline Consistory. Howard C, Passmore, the Commander-in-Chief of the A.A.S.R. Moline, worked as a securities agent in the Moline area and is financially struggling. Here is the handwritten letter that the asst. secy. sent to John and Ray Becker.

The letter dates July 24, 1930:

“My Dear Bros. Becker.
I am writing you a few lines on a subject that is hard for us to talk about as it concerns none other than our Dear Commander in Chief, Howard Passmore, nor do I want to say much in writing, but knowing what you and Ray think of Howard, my short story will probably surprise you.

Howard has by some manner (“unknown” generally) gotten himself into a financial jam that took a sudden turn that it was very necessary that his friends come to his immediate assistance in order to save him from more serious trouble. So after many sleepless nights etc. it was decided that our faithful friend C. J. Seymour take hold and see what he could among the more prosperous of our Consistory members in the way of a free will offering, and he decided he could place his at $50.00 and $25.00 and I was to solicit the membership at large and I was to place my donations from $1.00 to $5.00 and my letter herewith is what I got out yesterday.

(Side note: C. J. Seymour was a successful salesman and later manager who started with the Moline Plow Company. By 1917 he became in charge of motor truck sales for the Nash Sales Co. at Omaha)

John and Ray, I am writing this letter to you as a personal matter as I feel you both are so close to Howard as any of us, and feel personally that you would want to do your bit for him whatever you feel you can afford will be appreciated by us. Make your check payable to me and I will see to it that it is properly taken care of.

I won’t go into any detail by letter. But if you come down our way and time I may tell you. Fraternally yours,
H. A. Johnston, asst. secy.”

John Becker donated $10.00 to the Passmore fund during an onsite visit.

1930. September. The Valley of Moline still had an outstanding balance for their scenery installation.

To be continued…

Downtown in Moline, Illinois. Note the prominent Le Clair Hotel in the distance.

Tales from a Scenic Artist and Scholar. Part 96 – John C. Becker and the Moline Scottish Rite

Plan D

During October 1929 Becker sent a letter to the Moline Scottish Rite to follow up with the scenery estimate. He wrote, “I know you will be shocked with my estimate, but I have gone over it fairly well and I know it has exceeded your budget, but please do not feel discouraged as it can be cut some more I am sure, but I hate to see that done.” The new scenery would cost $12,000 and its installation another $2000.00. The October proposal included all of the stage equipment, practical draperies, painted scenery, and properties for the stage to produce all twenty-nine degrees from the fourth through the thirty-second.

Scenic studios frequently pushed for a larger sale. The approach of “ bigger is better” often worked with fraternal clients and their substantial funding. The 1920s was the era when massive Masonic complexes start appearing across the country. Examples appeared in St. Louis, Missouri, McAlester, Oklahoma, and Detroit, Michigan. There appeared no end in sight to the subsequent profits that could be gained from the Fraternity as they constructed even more elaborate buildings.

In Becker’s correspondence with the Valley of Moline we learn about the scenic studio’s process of presenting designs to the client. Fraternal regalia and paraphernalia catalogues always offered several grades of costumes, props, and other ceremonial supplies. Scenic studios had a variety of price points for painted settings. The standard Scottish Rite stage setting typically included a leg drop, a cut drop, and a backdrop to create a successful painted perspective for the stage. Scottish Rite Valleys with more funds, added leg drops and cut drops to this common setting, suggesting vast illusions of space. If the funding was limited, the scene might only include a leg drop and a backdrop. Removing leg drops and cut drops was a common way to reduce the overall cost. However, there was one step below this grade “C” option that could simply suggest a location – the sole backdrop with fabric masking. I refer to this option as plan D; an option that was offered as a last resort, but never advertised in any initial discussions with a Scottish Rite Valley.

In Becker’s letter to the Moline Consistory, he suggests that they could use one set of leg drops for all of the masking. Only the backdrop would change. Explaining that this is never an ideal situation, Becker simply offers it an option to further reduce the overall expense. Ideally, there would be at least two sets of painted leg drops – an exterior set and an interior set. However, a few Valleys solely used sateen draperies to mask each scene. Becker cautioned against this approach as it conveyed a “dead atmosphere” on stage.

Let’s return to the City of Winona and the unknown fate of their Masonic scenery collection for a moment. Remember that they had voted to only keep ten backdrops from their collection. One option was to retain individual backdrops instead of entire scenes. This would mean that all of the settings would solely consist of a backdrop without any of the accompanying leg drops or cut drops to create a painted illusion on the stage. The original design for the Winona stage included two leg drops, a cut drop, and a backdrop for most settings. Some city council members recognized that reducing each scene to a single backdrop would destroy the painted illusion. They are correct. Becker addressed this ineffective staging technique when he stated that a “dead atmosphere” on stage would be the result.

Winona Masonic Stage. Wood scene photographed in 2010 by Waszut-Barrett.

Winona scene if only a leg drops and back drop were used instead of the entire setting. Winona Masonic Stage photographed in 2010 by Waszut-Barrett.

This depicts the “dead atmosphere” described by John C. Becker if only a backdrop is used on the stage. Scottish Rite scenes were painted with the intention of depicting the composition’s middle ground and foreground with cut drops and leg drops.

The scenic studios knew what was impressive and what would sell more drops. If it couldn’t amaze the potential client, why show it at all? A single backdrop surrounded by sateen masking legs was not impressive, nor did it provide any illusion of depth on stage. In this scenario, the actors were simply in front of a backing, or large-scale painting. They were no longer a part of the setting.

To be continued…

Tales from a Scenic Artist and Scholar. Part 93 – The Moline Scottish Rite Sale

On my return trip from USITT, I stopped to complete one more scenery evaluation at the Scottish Rite in Moline, Illinois. Earlier that spring, I discovered that the Moline Scottish Rite building was for sale. Located at 1800 7th Avenue, it was listed for 1.2 million dollars. The Scottish Rite Cathedral in Moline was constructed in 1929 and dedicated in 1930. As with many Masonic buildings from this era, the space rented to a variety of fraternal tenants. There were four floors that included a Lodge Room, commercial kitchen, banquet room, several meeting rooms, and a 500-seat auditorium. Here is a link from a March 8, 2017 online article about the listing: http://qctimes.com/business/scottish-rite-cathedral-put-up-for-sale-in-moline/article_0aefda2f-3a61-5db0-af28-89eaa61cafce.html

Moline Scottish Rite theater pictured in the online article.

Moline Scottish Rite stage pictured in the online article.

Moline Scottish Rite proscenium arch detail pictured in the online article.

Moline Scottish Rite lodge room pictured in the online article.

Knowing how quickly a scenery collection can change hands and disappear forever, this became a destination location for me on my return trip. The Scottish Rite Valley seemed lukewarm about my visit and the executive secretary immediately transferred me to the building maintenance man – never a good sign. This type of disinterest suggested that the future of the scenery would be perilous at best. As with Fort Smith, Arkansas, in 2010, the scenery collection becomes the least of a Scottish Rite’s worries during an impending sale. As the administrative staff becomes overwhelmed with the liquidation of many artifacts and the possible transfer of certain items to a new facility, the drops are placed at the bottom of the list. When I was passed off to a general maintenance man who was simply being provided to lower scenery for an inquisitive girl, I organized my plan of attack and thought about finding an extra set of eyes during the quick evaluation.

As was the case for many Scottish Rite Valleys, the gentleman responsible for cleaning and repair of the building juggled his schedule with another part-time job, one that was often another cleaning job. Luckily for me, the Moline gentleman and I had a lovely chat over the phone and he sensed my excitement about their collection. Unfortunately, he could only allow me to look at scenery for three hours in the morning on Monday, March 13, 2017. I decided to post my plans on Facebook and see if anyone might want to tag along for an extra day either before or after the conference.

Luckily, Paul Sannerud was able to join me on this excursion and would be my extra set of eyes on stage during the evaluation. The greatest difficultly would be catching all of the flaws and identification markings in a rushed situation. That is what had happened at Fort Scott as I would literally run from my tripod in the auditorium to the stage area with a handheld camera. This would be my final project before I returned home to a relatively quiet spring. I needed a break to focus on my family, home, and yard. Moreover, I needed time to process all of my discoveries from the Mt. Pleasant Theatre Museum and Scottish Rite scenery collections. For the past two years, spring had been bustling with activity causing me to postpone many home-related tasks, both at our new home in Crystal and our previous home in Cambridge.

My plan was to depart St. Louis before noon on Sunday, March 12 and arrive in Moline by that evening. The next morning, I would arrive at the temple by 9AM, work three hours, and depart by noon. As the entire trip was self-funded, I was grateful to not spend another night in a hotel room.

I had no idea what to expect at the Moline Scottish Rite, having seen only a few glimpses of the collection in an online image search. All I knew was that the scenes were not produced by Sosman & Landis as they were the wrong style. I suspected that either Volland Studio or Becker Bros. Studio, or a combination thereof, produced the collection.

On Sunday morning, Rick Boychuk and I left our apartment early to pick up his car so that he could drop a friend off at the airport. We had both driven to St. Louis, and I had scored the garage space as I was driving to and from the Scottish Rite that week. After picking up Paul from the convention hotel, I returned to the apartment to finish packing up the remainder of my belongings.

I left reading material with Paul as I finished checking out of the apartment; my little teal carrying case for hanging files on Northern Masonic Jurisdiction Scottish Rite installations. I had carefully tucked away documents passed along from my friend in Chicago years ago. The contents included paperwork pertaining to a variety of Scottish Rite scenery installations. I had only ever had the chance to quickly skim the contents and mainly brought along the files to share with Rick. I envisioned relaxing every evening after conference activities, sipping Scotch, and discussing the evolution of stage rigging for Scottish Rite stages. The week was over and we had hardly peaked at the files. Oh well, I thought, as I handed them over to Paul in the lobby, maybe there is time now.

After loading up my car, I sat next to Paul while waiting for Rick to return. Paul noticed that the folders actually included a file about the Moline Scottish Rite. I was absolutely stunned! This was the same installation that we were going to see!

To be continued…

Tales from a Scenic Artist and Scholar. Part 88 – Visiting the St. Louis Scottish Rite, 2017

“Pack up the Luggage, La, La, La. Unpack the luggage, la, la, la. Pack up the luggage, la, la, la. Hi, ho, the glamorous life!”

I was on the road again! The “glamorous life” aspect was debatable. While driving to St. Louis for the United States Institute of Theatre Technology (USITT) convention during March 2017, my favorite musical selections were all from “A Little Night Music.” This trip was another escape from the Minnesota Masonic Heritage Center fiasco. Seeing the now irreparably damaged drops at the Ives theater urged me to try and save other collections since the fate of the Fort Scott scenery was no longer in my hands. I could now focus on the future of other collections.

Several months prior to my departure, I had contacted the executive secretary of the St. Louis Valley to schedule an appointment. Visiting a Scottish Rite theater while attending USITT had become my standard practice. It all started in 2009 when USITT was held in Cincinnati, Ohio. I had visited the Scottish Rite and York Rite theaters that were just down the street from the convention center to finish some research for my dissertation. That year, one of my return trips to the Scottish Rite theater I even included Bob Moody. He was the scenic artist responsible for this third generation of Scottish Masonic scenery in the building. When the scenery was painted, he had been in the employ of Volland Studio and was testing his newly acquired scenic art skills. He chuckled as he looked back at his early work. There was a lot of spatter everywhere!

Cincinnati, Ohio, Scottish Rite Cathedral. Third generation of scenery for the Valley of Cincinnati.

When the conference returned to Cincinnati in 2015, I took another visitor to the Scottish Rite theater -Rick Boychuk. We ascended high above the stage and looked at the rigging installation in detail. This system also had an identification tag as in Winona, Minnesota. The label credited the manufacture and installation of the rigging to the same company that produced the scenery – Volland. For the next few years, I brought as many people to Scottish Rite theaters as possible. There is nothing that compares to seeing the scenery properly lit and in the original venue.

Crawling above the stage in St. Louis to look at the rigging system.

Now I was traveling to St. Louis and excited to see a collection produced in the same era as the Fort Scott scenery. Again, this was a Volland collection as Hugo Volland was a Scottish Rite member. Remember, by the 1920s, Volland Studio had replaced Sosman & Landis Studio as the leading manufacturer of Southern Jurisdiction scenery. This was nearing the peak of Volland productivity.

On the morning of March 7, 2017, I left Mt. Pleasant, Iowa, and the Theatre Museum of Repertoire Americana behind, driving toward St. Louis. As scheduled, I parked in the ramp next to the skyway behind the Scottish Rite Cathedral by 9:50 AM. I wound my way to the executive offices and located Bret Akers. He was extremely excited for me to evaluate their collection as the Valley of St. Louis was at a crossroads. As with many other Scottish Rite theaters across the country, St. Louis was trying to juggle the increased expenses of deferred maintenance issues and decreased income from plummeting membership.

Scottish Rite Cathedral in St. Louis, Missouri.

Masonic Temple in St. Louis, Missouri on same block at the ScottishRite cathedral (to the immediate right).

In 1924, the Scottish Rite bodies in St. Louis, Missouri had moved into their newly constructed home that had cost in excess of two million dollars. One door down on the same the street was an even more impressive edifice – the Masonic Temple. The two buildings were a testament to the rapid expansion of the Fraternity and income generated from candidate classes with hundreds of members. The Scottish Rite auditorium was 165 feet wide and 130 feet long, seating approximately 3000 Masons. The Proscenium opening was 96 feet wide. Some degree productions necessitated a cast of 450 actors. They sometimes called in the help of the Shrine.

One door leading into the Scottish Rite theater in St. Louis, Missouri.

Floor plan for the theater in St. Louis, Missouri.

Scottish Rite theater in St. Louis, Missouri that seat over 3000 Masons.

View from the balcony in at the St. Louis Scottish Rite Cathedral.

For the next four days, I painstakingly examined the rigging system and all of the scenery. Each day, I invited a variety of scenic artists from across the country to share the experience. Who knows when they would have this opportunity again.

“Bring up the curtain, la, la, la
Bring down the curtain, la, la, la
Bring up the curtain, la, la, la
Hi, ho, the glamorous life”

To be continued…