Scottish Rite Theater – Page 4

Tales from a Scenic Artist and Scholar: Part 776 – Thomas G. Moses and the Memphis Scottish Rite, 1911

The Scottish Rite in Memphis, Tennessee.

In 1911, Thomas G. Moses wrote, “Some more work at Memphis, Tenn., Masonic.” Sosman & Landis delivered additional scenery two years after the initial installation. In 1909, Moses recorded that Sosman & Landis produced a scenery collection for the Scottish Rite in Memphis, Tennessee. At the time, scenery was purchased through M. C. Lilley and work subcontracted to Sosman & Landis.

The auditorium and drop curtain at the Memphis Scottish Rite. Scenery was delivered by Sosman & Landis in 1909 and 1911

Photograph posted online by the Memphis Scottish Rite of their spring reunion work.

The auditorium at the Memphis Scottish Rite.

Architectural ornamentation at the Memphis Scottish Rite auditorium.

The first reunion in the Memphis Scottish Rite building was held from November 15 to 19, 1909. Over the years, a variety of Masonic activity at the Memphis Scottish Rite Temple was reported in newspaper articles, personal correspondence, and business letters.

In 1916, a letter from Charles Rosenbaum of Little Rock, Arkansas, to Frank A. Derr of Guthrie, Oklahoma, addressed the use of footlights in Scottish Rite theaters. The letter noted that the Scottish Rite in Memphis Tennessee employed the use of footlights for their degree productions. The Guthrie Scottish Rite was considering the installation of footlights for their stage.

Rosenbaum responded to Derr’s query on June 10, 1916:

“I note what you say about footlights, but what use are they? In our old synagogue [the Albert Pike Cathedral, 1896], we had footlights; we found them sort of a nuisance. When we built on 8^th and Scott [the Albert Pike Consistory Building, 1902] we left them out entirely.

While in New York several years ago talking to Stage expert equipment people they showed me foot light equipment they were building for a High School building and it had a nice disappearing arrangement, which was all right.

I asked what was the necessary for foot lights, and why they were used.

The answer was —You have to have them to throw up the light on the people on the front of the stage to light up and destroy the rawness of their makeup, which means the paint and stuff they use on their faces, they said you can’t get along without them for that reason.

I said —Suppose there is no makeup, and I described our use of a stage, and they said it would be foolish to have footlights at all, and only in case we rented the building for theatrical purposes would it be necessary, because when Actors and Actresses made up the necessity would it be evident.

So —as we don’t rent for any such purpose and don’t make up our faces, and have no business very far out toward the front of the stage, or for that matter in front of the curtain line, we have no use for ‘foot lights, to high light our faces and they have no use for them in Memphis either unless they rent for shows of one kind or another.’”

There is something to consider beyond the topic of footlights that Rosenbaum discusses in the letter. When many Scottish Rite stages were constructed, they were never intended for public use or rentals. Times have changed and public rental income is a necessity. This mean that many stages have been altered to accommodate a renter, or make it more appealing for public rentals.

Over the years, the Memphis Scottish Rite altered their building for a variety or reasons, including a movie set. While examining the history of the building, I discovered an article that reporting the theater was “expanded and refurbished” when used to film performance scenes for the 2005 movie “Walk the Line,” starring Joaquin Phoenix and Reese Witherspon.

Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

Note proscenium side lights at the Memphis Scottish Rite. Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

Backstage at the Memphis Scottish Rite. Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

The counterweight system, Brown’s Special System, is picture in the background of this film still. Note the wooden arbor frame. Still from 2005 film, “Walk the Line” at the Memphis Scottish Rite posted at
http://masoniccontemporary.org/welcome#/id/i9190912

In some ways, the rental of Scottish Rite buildings and stages for filmwork has provided much necessary income for many Scottish Rite Valleys. However, the money comes at a price. Damage inevitably occurs over time as various lighting systems and other equipment are installed for a specific film scene, or temporary structures are anchored to existing walls.

I think of the continued television and film work that occurs in the Santa Fe Scottish Rite and recognize the recent changes that have compromised a once unique system. The original counterweight system, known as Brown’s Special System, has been irreparably altered from its original state. Photographs of this system that were published in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (2018, Museum of New mexico Press) depict a pristine system, one that remained unaltered since its installation in 1912. No matter the historical significance, or words of caution, nothing could have prevented its alteration over the past two years.

I understand that change is inevitable as the Fraternity responds to declining membership. In many instances, the loss of membership means a loss of annual revenue, prompting Scottish Rite Valleys to respond in various ways, such as public rentals. Some renovate the space that generates the greatest rental income; in many instances it is the stage and auditorium. For an organization that remained locked in time for decades, a few individuals are irreparably altering their spaces. Stage houses, specifically the scenery, stage machinery and other systems, are often repaired, altered, or renovated, without any undertstanding of the system. Furthermore, these alterations are often completed without the knowledge of the membership or staff. Sadly, a few members consider these historic buildings as their personal playgrounds, completing one “home-improvement” projects after another and using unrated hardware, duct tape, contact cement, and other inappropriate products for their work.

Go visit your nearest Scottish Rite theater now, as change is coming and it might be different by tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar: Part 775 – Thomas G. Moses and the Cheyenne Scottish Rite, 1911

I return to the life and times of Thomas G. Moses. In 1911, Moses recorded that Sosman & Landis received “a small contract at Cheyenne of Masonic work.”

Sosman & Landis were well known in Cheyenne, having delivered stock scenery to the Grand Opera House in 1882. Sosman & Landis artists paired up to complete many projects on site, traveling from one theater to another and crisscrossing the country. From 1881-1882, Moses and studio founder, Joseph S. Sosman were a team, completing one project after another as salesman Abraham “Perry” Landis secured each contract.

The Scottish Rite Theatre is located in the Masonic Temple, home to multiple Masonic orders. Located at 1820 Capitol Avenue in Cheyenne, construction commenced on a three-story structure in 1901, costing local Masons $45,000. Unfortunately, in 1903 the building was gutted by fire. The “Natrona County Tribune” reported, “The fire originated by defective electric light wiring over the stage at the south end of the building. The loss was estimated at $50,000; insurance $33,500, $30,00 of which was on the building and $3,500 on paraphernalia. The elegant paraphernalia of the Scottish Rite Masons, costing at least $6,000 was entirely destroyed, and besides this many suits belonging to the members of the order were lost. Only a few rugs and several pieces of furniture were saved. The structure will be rebuilt at once. The structure will be rebuilt at once. The Scottish Rite Masons had just finished holding a reunion in the building, at which forty-one new members were admitted on the night before the building was destroyed, this being the first reunion held in the building since its completion” (5 March 1903, page 8). After receiving their insurance settlement, the Cheyenne Scottish Rite Bodies reconstructed the damaged stage and interior.

Sosman & Landis delivered an initial collection of scenery to this Masonic Hall in 1911, and membership numbers began to skyrocket.

On January 25, 1911, the “Natrona County Tribune” reported, “Cheyenne. – The semi-annual reunion of Wyoming Consistory No. 1 here met Jan. 4, and is attended by Masons from all sections of the state. A class of twenty-six candidates for the Scottish Rite degree has been selected” (Caspar, Wyoming, page 6). By that fall, there were fifty candidates at the Scottish Rite reunion in Cheyenne (Natrona County Tribune, 20 Dec. 1911, page 6). Over a year later, there were forty-six candidates (Natrona County Tribune, 26 Dec. 1912, page 2).

A new Scottish Rite Cathedral was planned in 1920 as membership rapidly outgrew its current quarters. 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).

The Scottish Rite stage in Cheyenne, Wyoming.

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.

I visited the Cheyenne Scottish Rite last year on June 18, 2018. It was father’s day when I documented the Cheyenne Scottish Rite scenery collection, with my husband and son working as stagehands that day. Our guide, Ron, explained that the building was expanded during the 1920s, an addition that included a new theater. Toomey & Volland studio records list a delivery of scenery to the Cheyenne Scottish Rite at that time. I identified three distinct scenery collections when examining the stencil placement. Two are consistent with Sosman & Landis and the third is likely from the studio of Toomey & Volland in St. Louis.

Some of the scenery includes the shipping label “Scottish Rite Bodies. Masonic Hall. Cheyenne, Wyoming.” This information is stenciled on the back and front of some bottom sandwich battens. Additional stenciling on the back of some drops also confirms the destination of Cheyenne, characteristic of standard Sosman & Landis Studio labeling during the first decade of the twentieth century. Keep in mind that it was common for Scottish Rite Valley’s to retain their original scenery when the initially expanded and increased and existing stage. Enlarging the original scenery delivered to the Masonic Hall in 1903 and 1911 for the 1920s stage was not unusual, even if a competing studio painted it.

The three collections at the Cheyenne Scottish Rite are not of any particular, or standard, size. It is obvious that many of the drops were hung at another venue prior to being installed above the current Scottish Rite stage. Charcoal markings denoting previous line sets are just one indicator of a previous life elsewhere.

In regard to painted aesthetics, the design and scenic art for some of the collection is consistent with other Sosman & Landis scenery delivered to Santa Fe (1912), St. Paul (1910), Winona (1909), Tucson (1914), Asheville (1914), and Grand Forks (1914). The painted flats accompanying many of the painted scenes, however, are not identified with stencils, nor characteristic of Sosman & Landis flats manufactured before 1908. The profile pieces in Cheyenne only include a few pencil markings. The design and construction of these pieces are not characteristic with Sosman & Landis set pieces, as they are also much brighter in color than the remainder of the collection, suggesting their delivery by Toomey & Volland aesthetic.

The stage machinery also predates the 1920s. It is an example of Brown’s Special System, also delivered to Santa Fe (1912), St. Paul (1910), Winona (1909), Tucson (1914), Ashville (1914), and Grand Forks (1914).

Counterweight system on the stage right side. The Scottish Rite stage in Cheyenne, Wyoming.

Brown’s Special System installed at the Cheyenne Scottish Rite

The fly rail at the Cheyenne Scottish Rite. This is where Masonic stage hands stood when they raised and lowered backdrops.

Counterweights in a wooden arbor cage were part of Brown’s Special System. The Scottish Rite stage in Cheyenne, Wyoming.

Finally, our host explained that additional drops that went unused for decades. They were rolled up and placed in an offstage area. Sadly, they were disposed of a few years ago without anyone documenting was thrown away, so we have no idea if this were an earlier collection, and adopted collection, or simply unused scenes. There is one dead hung drop curtain against the upstage wall. It appears to be a drop curtain, as I was able to see some painted fringe and draperies, suggesting that this piece may have been the drop curtain from the previous stage at the Masonic Hall; the front curtain would have been not wide enough for the current proscenium opening. I would love to see what the composition is, as I was unable to see more than the bottom two feet of the drop.

To be continued…

Travels of a Scenic Artist and Scholar. Opportunity is Not a Lengthy Visitor

Have you ever seen a sold sign on a Masonic building? I am looking for a photograph of one.

When I place the Cleveland Scottish Rite within the context of many other Masonic buildings that have been sold over the past few years, I think of one particular line from the musical “Into the Woods” – “Opportunity is not a lengthy visitor.” Many Masonic buildings are being sold for a fraction of their worth and now is the time to invest if you have the funds. Those buying these massive entertainment complexes have a strategy to turn a profit, a strategy that I wish the remaining Scottish Rite facilities would consider before selling.

Also, potential buyers are in a prime position when negotiating with a seller that is primarily composed of volunteers. For some reason, many Valleys have been told that their facility will be a “difficult” sell and to anticipate their being on the market for quite some time. Some realtors explain that Valleys should be prepared to accept less than list price and jump at the first opportunity of an offer. This establishes a certain mindset for the seller, as they are tempted to take the first offer, even if it is well below list price, since the opportunity might not come again. This also sets up an ideal situation for an ambitious buyer. The best time to purchase a building is when property owners have fallen on hard times, are desperate, or have no hope of selling.

While contemplating the recent sale of the Wichita Scottish Rite, it is easy to see the many benefits for the buyer (https://www.kansas.com/news/business/biz-columns-blogs/carrie-rengers/article226976539.html). As much as I wish this were an altruistic act to preserve Masonic heritage, I doubt that is the case. I would love there to be an independent group snatching up Masonic buildings and keeping them safe for the future generations of Masons, ready to hand them back at a moments notice when the Fraternity can afford it again. Right now, these well-built and ornate buildings are ripe fruit, ready for picking by a canny investor. For any group specializing in live entertainment, it would be the perfect time to set up a theatrical circuit.

If I were a member of the Fraternity, I might see a perfect opportunity that could result in great monetary returns. As a Mason, I would immediately recognize declining membership and that many fraternal buildings are in a state of disrepair after decades of deferred maintenance. There will be dozens, if not hundreds, of Masonic buildings placed on the market in the near future. Unlike an old building that needs to be converted into an entertainment complex, many of these buildings are ready to host hundreds, if not thousands, of annual visitors.

Many of these buildings include theaters, banquet facilities, commercial kitchens, and ample parking lots. They are perfect for hosting weddings, social events, and touring productions. In fact, they have been successfully hosting these events for decades and are a well-known commodity. In addition, these buildings are often landmarks, having been the focal point of many communities for over a century. Furthermore, the purchase of many Scottish Rite buildings comes with dedicated renters, a group whose identity remains integrally linked to the space.

For quite a while, I have considered various seller scenarios, if one particular group would begin purchasing Masonic properties and converting them into a string of entertainment venues, here is what I may do…

As an investor, I would establish an investment group to systematically target and purchase these buildings for less than list price. I would realize that this volunteer organization has a key group of individuals who really control each Valley. These are the people that I need to convince, getting them to repeatedly explain to their Valley that they need to downsize, or they will lose their building anyway. Hopefully these individuals will not take the “bull in the china shop approach” and draw too much attention when later placing their building on the market.

The same tactic will be implemented across the country so that it becomes the standard, framing it as a fiscally prudent choice to preserve their endowment (if there is one) and sacrificing their home to ensure a longer lifespan of a lodge. I would then make sure that each purchase was perceived as a generous act; not getting a great real estate deal, but helping Masonic orders stay in their homes for a while. As the new owner, I need to accumulate social capital, making sure each community see me as investing in local history while actively preserving the Masonic home.

What would be the best way to accomplish my goal? Insider information, specifically knowing which historic buildings would soon be on the market. I would need to know which Valleys were going under before the building hit the market, so that I could have everything in place and not appear to target any particular venue. Understanding the current state of various Scottish Rite Bodies would be beneficial. I would have a team in place, a team with almost unlimited resources to quickly renovate and market this entertainment venue to the general public.

The only problem may be some of the material culture in the building, such as a historic scenery collections, stage machinery, or other fraternal artifacts that may get in the way of my renovation plans. It would be best to get rid of any controversial items quickly and quietly, and this is easiest if there are no available inventories or lists. However, if the Scottish Rite Masons no longer need these artifacts for their degrees, or degree productions, it simplifies everything. If Scottish Rite degrees productions on stages are replaced with another form of instruction, the loss of a stage may not be a big deal.

I highly doubt that there is a conspiracy to make a small number of men rich as the Fraternity declines, however, a pattern is starting to develop with the sale of these massive buildings. Several generations of men helped build each Masonic home. Now one generation of men may lose most of them. I am curious to see who really owns the majority of Scottish Rite buildings in a decade. Opportunity is not a lengthy visitor.

To be continued…

Travels of a Scenic Artist and Scholar. TempleLive and the Cleveland Scottish Rite July 18, 2019

Update: TempleLive, a network of historic entertainment venues abruptly closed all location in September 2025. Owned by Beaty Capital Group, the venues often included Masonic structures such as Scottish Rite Temples.

The Cleveland Masonic Temple, once home to the Scottish Rite, is now owned by TempleLive.

I stopped by the Cleveland Scottish Rite building on my return trip from the League of Historic American Theatre’s national conference in Philadelphia. The venue has recently changed hands over the past two years and is under the operation of TempleLive, a group that is buying historic properties and using them as event centers. (https://www.templelive.com/). TempleLive is the subsidiary of the Beaty Capital Group, an investment firm with an interesting past. TempleLive’s most recent purchase was the Scottish Rite in Wichita, a significant loss for the Fraternity in terms of historical artifacts and material culture.

The Scottish Rite in Wichita, Kansas, was recently purchased by TempleLive.

The Cleveland Scottish Rite has popped up on my radar multiple times over the past years, in both personal research and blog posts. It represents a single square in the quilt of American theatre history, as well as the life and times of Thomas G. Moses (1856-1934). I first made contact with Cleveland’s Scottish Rite secretary on my way to Cleveland. He was a very pleasant fellow. Although happy to meet with me, he could no longer show me the stage area, as the entire building was under the management of TempleLive.

The Scottish Rite Secretary shared the telephone number for the local TempleLive representative, urging me to schedule an appointment that day for a tour with her. She was very accommodating and graciously set a time to meet. In addition to daily administrative duties, the local TempleLive manager is also part of the overhaul team, even painting walls and cabinets as part of the ongoing renovation work. In addition to implementing new color schemes, she negotiates the contracts with the Fraternity and is their key contact. Her immediate supervisor specializes in managing entertainment venues, the two previously working together on at separate venue in Cleveland. She explained that the TempleLive protocol is hiring local individuals and maintaining a congenial relationship with the previous owner, now a dedicated renter.

Both the Scottish Rite representative and TempleLive host could not have been more gracious or accommodating during my visit. They each spent an ample amount of time explaining the transfer of the building from the Fraternity to a private investor and the necessary renovations that needed to occur prior to using the facility for public events, particularly Live Nation events. Live Nation Entertainment advertises as a “Global Leader in Live Entertainment. Artist Powered. Fan Driven” with over 200 venues, 35,000 annual concerts, 4,000 touring artists, and 93 million fans in 40 countries (https://www.livenationentertainment.com/). They boast, “On average every 16 minutes there is a live Nation event starting somewhere in the world.”

Scottish Rite stage in Cleveland with some new lighting instruments for Live Nation.

It is my understanding that Live Nation is solely involved with the stage entertainment only and not the rest of the building. Live Nation recently installed new trusses for the secondary lighting system on the main stage. The old lighting system is still in place, but Masonic Bodies can use the new system for a substantial fee. With the continued flickering and blackouts during my stage visit, however, it is possible that the new system has problems. My TempleLive host explained that the light issues had been a problem since the new system was recently installed. Hmmm.

Lighting instruments for Live Nation shows.

Both of my hosts adamantly stressed the beneficial relationship between the Fraternity and TempleLive’s management, especially the generosity of the new owner allowing the previous owner to rent space in the building. I could not help think that the arrangement may be most beneficial to the new owner as there is no preparation for a new tenant, or any period of vacancy waiting for rental income. Yet the spin is more of generous landlord helping out struggling tenant.

My hosts were friendly, inquisitive, and sharing, yet something seemed off. In fact, as I walked through the building, I continued to experience a sinking sense of dread. It was the same feeling that I felt when the last painted setting left the Scottish Rite building in Fort Scott, Kansas; the soul of the space was gone. Interestingly, by the end of my two-hour visit, I still had no idea what happened to the historic scenery collection, who had removed the drops from the main theater or where they were currently stored. The backdrops went from “rolled up” to “in storage,” to “there may be a few still hanging.” The cathedral scene may be hanging – smart move for weddings on TempleLive’s part. There was a framed photograph of the scene that the Scottish Rite Secretary shared during my visit and both hosts stressed the beauty of the painting.

Framed picture of one Scottish Rite setting manufactured by Toomey & Volland scenic studio of St. Louis, Missouri, 1919.

To put this all in context, however, here is my current understanding of what TempleLive does when investing in a Masonic property. First of all, they target historic venues because of the construction quality and layout, an aspect stressed by my Cleveland host noting, “buildings just aren’t made like that anymore.” Paying a fraction of the building’s market value, the new owner ensures that the various Masonic orders meeting in the space still have access as renters. In the case of Cleveland, that the Masonic bodies have a base rental fee and are up-charged for a variety of services, such as using the “new” lights on stage. This is brilliant, because you not only get a good deal on real estate, but you immediately have dedicated renters who have no incentive to find another location. They are not going anywhere anytime soon as securing another location and moving all of the ritual paraphernalia is a deterrent.

So let’s start from the beginning as explained by my host… the building changes hands and TempleLive focuses on getting the stage/auditorium ready to sell seats for touring and local performers. This makes sense as it provides an additional revenue stream beyond the Masonic orders. TempleLive invests in the theater areas first. In the case of Cleveland, the $725,000 is paid for the building and 5 million was solely sunk into theater renovations, making it immediately ready for performances and additional revenue. Again, the price was $750,000 for a historic building with 102,000 sq. ft. in a prime downtown location. Keep in mind, similar transactions have repeatedly occurred during the past decade, with Scottish Rite buildings changing hands to private investors for next to nothing, in some cases only $1. Yet almost all have the agreement that the Masonic orders can still meet in the building, often for a fee. After the theater is up and running, TempleLive focuses on renovating the remainder of the building. That is where Cleveland is at right now, moving onto the remainder of the building.

One of many ornate halls in the Cleveland Masonic Temple

One of many meeting spaces in the Cleveland Masonic Temple

A lodge room still used by Masons at the Cleveland Masonic Temple, now owned by TempleLive.

Now there is a second theatre space in the Cleveland Masonic building that has yet to be renovated. Some of the original scenery is still hanging. We did not lower the historic scenes, so I have no idea if they were manufactured by Sosman & Landis in 1909 or Toomey & Volland in 1919. I took as many pictures of the stage machinery as possible. Sadly, I doubt that retaining any historic scenery directly benefits TempleLive. If anything, it is likely to be an impediment to their standard protocol in creating spaces for touring productions.

The second stage at the Cleveland Masonic Temple

To be continued…

Travels of a Scenic Artist and Scholar. The Collingswood Scottish Rite, July 13 and July 17, 2019.

The front of the Collingswood Scottish Rite includes the original mansion that was built on the property in the 1850s

The design for the Collingswood Scottish Rite

My visit to the Collingswood Scottish Rite on July 13, 2019

In 1991, I encountered a series of Scottish Rite scenic designs with “Camden, NJ” written on the back. This was while I was processing the Holak collection for the University of Minnesota Performing Arts Archives as part of an Undergraduate Opportunities Program grant. The Holak collection was the second of two Masonic scenery collections that I processed between 1989 and 1991. The Holak collection included a variety of designs created by “Sosman & Landis” and their eastern affiliate “New York Studios.”

By 1992, I journeyed to the East Coast for the first time, newly engaged and visiting my fiancée’s family in Delaware. Unfortunately, there never seemed to be any opportunity to track down the Camden Scottish Rite, so it sat on the back burner for a few decades until this month.

Over the years, I would think of the Camden designs every time we visited friends or family in New Jersey. Opportunity finally presented itself while I was attending the League of Historic America Theatres national conference in Philadelphia. I was on my way back to New Jersey with our eldest child’s godparents when we decided to stop by and take a look. I had not scheduled a visit or checked if the building would even be open, just hoping to catch a glimpse of the fly tower. The Collingswood Scottish Rite was only two blocks away from the Camden city line and bustling with activity when we stopped.

There were cars in the parking lot and many exiting the building – score! This meant that I might be able to venture in far enough to see the lobby, and possibly the theater. Unbelievably our arrival coincided with the break between the matinee and evening performances of “Seussical” – not by the Masons, but by a local community theater group. Although, the idea of a Masonic version of “Seussical” does make me giggle – “Oh, the Thinks You Can Think!” But I digress…

Once inside the building, I met with an enthusiastic woman who eagerly listened to my connection with Masonic theater and then introduced me to Mary, the woman in charge. She was also delighted to hear my history about Scottish Rite scenery and promptly offered us a tour of the stage, patiently waiting while I climbed up to the fly gallery. “Seussical” had not been presented in the theater due to lack of central air. Instead, it was being presented in the only air-conditioned space below- the banquet room.

Postcard depicting the auditorium and one stage setting at the Collingswood Scottish Rite.

The proscenium line at the Collingswood Scottish Rite

The fly gallery at the Collingswood Scottish Rite

After examining the toasty auditorium and stage, we wandered up to another room where some of the backdrops were stored. I would later learn that local riggers working touring shows at the Collingswood Scottish Rite demanded the removal of the historic drops. All this seems very odd and I sincerely hope that I have misunderstood the chain of events leading up to the removal of the scenery. In the end, some of the scenes were gifted to the community theater for productions. The gifted drops have been repaired and repeatedly used in local theatre productions.

Without being able to unfold any of the drops, or see a stage book, I had no way of knowing if the Holak designs were ever realized for this particular venue. The designs may have simply been for a preliminary proposals. My host suggested that I contact the Scottish Rite Secretary the next week and meet with him, specifically asking to see the stage book.

It was not until after the conference ended, that I returned to the Scottish Rite, scheduling a meeting with the Scottish Rite secretary and bringing a few LHAT friends. I enjoyed a second tour of the theater before examining the stage book and chatting with the Scottish Rite representative. Before the scenery collection was removed, each backdrop had been photographed and placed in a packet, noting the original line sets. As I slowly flipped through the packet, I recognized many of the compositions from the Holak collection.

Folded backdrops at the Collingswood Scottish Rite

A design from the Holak Collection, with “Camden, NJ” written on the back.

Photograph of the same scene in the Collingswood Scottish Rite stage book

Although the scenery collection is folded up and in storage, it still exists – for now. There is also a greater possibility that the historic backdrops may avoid a final resting place in a dumpster if there is any perceived value of the artifacts; I did my best and even left a copy of “The Santa Fe Scottish Rite Theatre: Freemasonry, Architecture and Theatre” for the Scottish Rite Valley library.

The history of the Collingswood Scottish Rite complex is quite unique and fascinating. The Masons purchased the parcel of land with the intent of leveling the existing 1850s mansion that remained on the property at the time of sale. At some point, plans changed and the mansion was not leveled, just abbreviated; the front portion was left standing to be used as Scottish Rite offices. The new theater building was then connected to the back of the old mansion.

Recently, the Scottish Rite sold its building to the city, reserving the right to maintain the offices and use the lodge room. This arrangement is becoming more common across the country, as Scottish Rite Valleys sell their buildings for pennies on the dollar and negotiate with the new owners to still meet in the space. I remain unsure as to how much the theater is used for Scottish Rite degree productions, if it is used at all. Remember that the Northern Masonic Jurisdiction has mostly transitioned from degree productions to video presentations for instruction. The Collingswood Scottish Rite auditorium hosts a variety of touring shows, including an upcoming performance by Pink Martini, my new favorite musical ensemble. The current bookings at the Collingswood Scottish Rite remain limited to spring, fall and winter due to the lack of any central air.

To be continued…

Tales from a Scenic Artist and Scholar. Part 744: Returning to Masonic Scenery Production in the Life and Times of Thomas G. Moses, 1909

I return to the year 1909 in the life and times of Thomas G. Moses. For the past several posts, I explored famous Philadelphia drops curtains mentioned in an 1894 newspaper article. Scottish Rite theaters also used drop curtains as the focal point of an auditorium. The ornate draping of fabric popularized on the public stage appeared on a variety of fraternal stages throughout the nineteenth century. Often, the only difference was the placement of a Masonic emblem in the center.

The Scottish Rite drop curtain in Salina, Kansas

The Scottish Rite drop curtain in Yankton, South Dakota

The Scottish Rite drop curtain in Wichita, Kansas

The Scottish Rite drop curtain in Tucson, Arizona

As in commercial theaters, Masonic drop curtains were hung on the first line, concealing the remainder of stock scenery, often numbering between 80 to 120 drops. In addition to backdrops, scenic studios manufactured set pieces, props, and stage machinery for Scottish Rite stages. Although massive in scope, Masonic theater work only accounted for approximately 25% of all work contracted by studios such as Sosman & Landis. Of that percentage, Scottish Rite scenery consisted of only a fraction of the total number for Masonic work.

By the end of Moses’ career, spanning from 1873 to 1934, his Masonic work included the design and supervision of scenery production for 55 Scottish Rites, 14 Commanderies (York Rite), 9 Grottos (MOVPER) and 7 Shrine (AAONMS) Auditoriums. In 1909, Moses wrote, “We have forty-eight on the payroll, which includes the sewing girls and foremen. At 20^th Street we have an average of twelve. I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.

In 1909, Moses also wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” Other Scottish Rite scenery collections that year produced by Sosman & Landis Scene Painting Studio included, Kansas City, Kansas, Memphis, Tennessee, Winona, Minnesota, and Atlanta, Georgia.

While, Sosman & Landis were cranking out stock scenery collections for Scottish Rite theaters, their primary competitor, Toomey & Volland Studio of St. Louis, Missouri, was gaining ground; the St. Louis company was becoming increasingly popular among Scottish Rite Masons in the Northern Masonic Jurisdiction. That year, Toomey & Volland delivered two large scenery collections to Scottish Rite theaters. Although they produced much less scenery than Sosman & Landis at this time, the firm would soon grow to dominate the industry after World War I.

To put all of this Scottish Rite scenery production in context, by 1910, I have identified the following Scottish Rite installations:

33 scenery collections were delivered by Sosman & Landis

18 scenery collections were delivered by Toomey & Volland

2 scenery collections were delivered by E. T. Harvey

2 scenery collections were delivered by Henry C. Tryon

This list counts for only a fraction of the Masonic scenery produced during the late nineteenth and early twentieth century. It does not include painted settings produced for other fraternal groups, such as the Elks or Knights of Pythias. The list does not take into account scenery for other Masonic stages, such as those used in Grottos (Mystic Order of the Veiled Prophets of the Enchanted Realm), Commanderies (York Rite), or Shrines (Ancient Arabic Order of the Nobles of the Mystic Shrine).

The numbers above do not reflect any of the early scenery manufactured for some of the very first Scottish Rite lodge rooms, those scenic pieces and roll drops painted by itinerant artists or talented members. There are also those other collections produced by unidentified studios prior to 1910. Yet, when we look at the amount of historic scenery still hanging in Scottish Rite theaters across the country, the sheer amount is somewhat staggering to comprehend when considering the ephemeral nature of commercial stage scenery.

I spend a significant amount of time exploring Masonic scenery produced by Sosman & Landis in my blog, primarily because it remains a significant part of American Theatre history, long after a traditional painted aesthetic declined on the commercial stage. Much Masonic scenery is also still in use, an aspect that makes these fraternal theaters living history museums. Scottish Rite stages, machinery, scenery, lights, properties and costumes are a primary resource still available to theatre technicians for study and reference.

Masonic business for Sosman & Landis continued to boom until the onset of World War I. They road the crest of a fraternal wave that produced unprecedented profits until approximately 1915. This year also marked the passing of studio founder Joseph S. Sosman. The years 1909 to 1910 is a peak period in Scottish Rite scenery production at Sosman & Landis; the studio was swamped with it.

As I continue with Moses’ life and times from 1909-1910, keep in mind that the production of Masonic scenery is ever-present in his daily life and the running of the studio. At first, the Masonic scenery, as well as all worked subcontracted by M. C. Lilley & Co., were completed in the Sosman & Landis annex studio. However, as business boomed, Sosman & Landis’ eastern affiliate, New York Studios, run by David H. Hunt, also completed numerous Masonic projects.

To be continued…

Tales from a Scenic Artist and Scholar. Part 725 – The Fort Wayne Scottish Rite, 1909

Part 725: The Fort Wayne Scottish Rite, 1909

*Postcard of the Fort Wayne Scottish Rite*

The Toomey & Volland studio of St. Louis was also installing scenery and stage machinery in Scottish Rite theaters during 1909. One example was the Scottish Rite in Fort Wayne. Here is the article published in the Kansas City Kansas Republic on Dec. 2, 1909.

*Illustration accompanying newspaper article about the opening of the Fort Wayne Scottish Rite, 1909*

“Finest Cathedral.

Scottish Rite Temple in Fort Wayne is Dedicated.

Masons of High Degrees at Exercises Attending Opening of $200,000 Temple-Has a Fine Banquet.

Fort Wayne, Ind. –The new Scottish Rite cathedral in Fort Wayne, costing about $200,000, and said to be the finest in America, was dedicated on the evening of November 17 in the order from most of the larger cities of the far east and middle west. The dedication was preceded by a banquet-room. At which 1,000 plated were laid. The banqet-room of the cathedral fills the entire ground floor and is one of the largest and most ornate halls in the west.

Owning to the illness of Sovereign Grand Commander Samuel C. Lawrence, 33, of Boston, the master of ceremonies was Barton Smith of Toledo, 33, puissant lieutenant grand commander, assisted by John Corson Smith, 33, grand minister of the state. William Geake, 33, of this city, commander-in-chief of the Fort Wayne Sovereign Consistory, assisted in the dedication.

The dedication was held at the regular time of the fall meeting of the consistory for the Valley of Fort Wayne, and 300 took the Scottish Rite degrees. Degrees were given from the fourth to the Thirty-second. Heretofore this valley had no jurisdiction beyond the eighteenth degree, and the degrees from the 19 to 32 were conferred here for the first time. As the consistory has already nearly 1,100 members, the Fort Wayne consistory has become one of the largest in the country.

The cathedral, which was designed by Mahurin & Mahurin of Fort Wayne, is a at Clinton and Washington streets, in the residence section, with the handsome First Presbyterian church across the street. It is built of Bedford stone on all sides and is thoroughly fireproof, being finished within with concrete floors, marble stairways and wainscoting, and iron balustrades. Some rooms are finished in Cuban mahogany, but there is very little inflammable material anywhere. The heating is by steam and the lighting by electricity.

The cathedral is three stories high, with a spacious basement. The ground floor will be the banquet and ballrooms, with galleries. The social rooms are on the second floor, which is also provided with quarters for the ladies. There is also a room for the Mystic Shrine. The third floor is occupied by the consistory auditorium, which is arranged on the stadium plan with tiers of opera chairs rising steeply, so that those in the rear seats can all see the work on the large floor below. There are seats for nearly 600 in this auditorium. The organ loft is in the north and at the south end there is a spacious stage provided with scenery, the work of a St. Louis firm.

The proscenium arch is elaborate with the designs and emblems of the several degrees. The decorative design and color scheme were the work of a Chicago firm. The organ was made in Rock Island at a cost of $6,000.”

Here is a link to the Consecration and dedication of the Scottish Rite Cathedral, Valley of Fort Wayne, Indiana, Tuesday, Wednesday, Thursday, November 16, 17, 18, 1909, on the Internet Archive:

https://archive.org/details/consecrationdedi00unse/page/n7

*Consecration and dedication of the Scottish Rite Cathedral, Valley of Fort Wayne, Indiana, 1909*

This building on the corner of Washington and Berry Streets no longer exists. In 1953, the Fort Wayne Scottish Rite bought the Mizpah Shrine building on the corner of Ewing and West Berry. Constructed in 1925, the Shrine building had a seating capacity of 2,400 that hosted a variety of non-Masonic events and has quite and interesting history. Unfortunately, the Fort Wayne Scottish Rite left this home too when St. Francis University purchased the structure in 2012. Here is an article about the Shrine building, second home to the Fort Wayne Scottish Rite: http://historycenterfw.blogspot.com/2012/01/scottish-rite-history-in-fort-wayne.html

To be continued…

Tales from a Scenic Artist and Scholar. Part 724 – The Temple Theatre in Rochester, 1909

Part 724: The Temple Theatre in Rochester, 1909

Sosman & Landis delivered stock scenery, an asbestos curtain and a drop curtain to the Temple Theatre in Rochester, New York, in 1909. The Temple Theater was located just across the street from the popular Lyceum Theatre on Clinton Street. This was the same year that they also delivered Masonic scenery to Scottish Rite theaters in Winona, Minnesota, Kansas City, Kansas, Dallas, Texas, Atlanta, Georgia, and Memphis, Tennessee.

Postcard of the Temple Theatre in Rochester, New York.

The Temple Theatre across from the Lyceum Theatre in Rochester, New York.

On September 22, 1909, and advertisement for the Cook Opera House was placed in the “Rochester Democrat and Chronicle,” noting that it was “to be succeeded in November by the Temple Theatre as Rochester’s Home of International Vaudeville” (page 16). As the Cook Theatre, it was the present home of “J. H. Moore Vaudeville” (Democrat and Chronical, 14 March 1909, page 24).

There were venues known as “Temple Theatres” across the country, many managed by the Knights of Pythias. There were many other Temple Theatres in 1909, including those in Alton, Illinois, Youngstown, Ohio, New Orleans, Louisiana, Palestine, Texas, and Detroit, Michigan, to name a few.

In regard to the new Temple Theatre in Rochester, he “Democrat and Chronicle” reported, “[the Temple Theatre] will have the most complete vaudeville house on the American continent” (25 October 1909, page 10). Architect Leon H. Lempert drew the plans and supervised the construction of the theater. Of the installation, the article continued,

“The stage scenery is from the studios of Sosman & Landis of Chicago, and a carload of scenery will arrive in the city next week, several other cars of scenery following rapidly. The asbestos, or fire curtain, will be the first to be placed so as to avoid wrinkling and the beautiful drop curtain will be the last thing.

This drop curtain will be a picture of Marie Antoinette receiving Louis XVI at Versailles. The scenic equipment itself is perhaps the most elaborately ever placed in a vaudeville theater in the world, and the subjects as well as the designs of the interior scenes were carefully selected at a conference of the artists, the owners and the architect. J. H. Moore gave carte blanche for this work. And the cost of the decorations and scenery alone is more than the cost of the average theatre.”

Of the other elaborate decorations in the new Temple Theater in Rochester included fresco work was completed by Charles S. Allen of New York. The article noted that he worked on the ceiling with “a dozen Italian artists” who were brought to this country to decorate the home of Charles M. Schwab, the steel magnate. Furthermore. The mural paintings on the soundboard above he proscenium arch were painted by Raphael Beck, an artist from Buffalo, New York. Beck had exhibited his work at the Pan-American Exposition.”

Program for the Temple Theatre in Rochester, New York.

To be continued…

Tales from a Scenic Artist and Scholar. Part 723 – Kansas City Scottish Rite, 1904, 1906 and 1909

Part 723: Kansas City Scottish Rite, 1904, 1906 and 1909

In 1909, Sosman & Landis provided a second set of scenery for the Scottish Rite in Kansas City, Kansas. The history of the Kansas City Scottish Rite is a little confusing. There were two Kansas City Scottish Rites, one in Kansas and one in Missouri. This makes it difficult when tracking down information about either one, as the same newspapers often published information without specifying the state.

In 1904, Sosman & Landis delivered a first set of scenery to the Kansa City, Kansas, Scottish Rite (see past post 692). This was the same year that the company also produced Scottish Rite scenery for Fort Scott, Kansas. The first Kansas City, Kansas, Scottish Rite was designed by architect W. W. Rose, and located at the corner of 7^th and Ann Street. On April 1, 1904, The Lincoln Journal included an article on the new building, however a description of the stage area and scenery was absent. It was intentionally concealed from the public for the event, closed off with a curtain. The article only noted that the stage was “thirty-two feet deep and thirty seven feet to the gridiron and has a full equipment of scenery and appointments including a switchboard, which controls every light in the room from the stage.” Unfortunately, the stage, auditorium and building all went up in flames only two years later.

During October 1906, the three-story building caught fire during a street fair. The Iola Daily Record reported that the Masonic Temple, its entire contents, two residences adjoining the block, and half of the booths at the street fair were destroyed by fire (October 20, 1906, page 1). The cause of the fire was the explosion of a gasoline stove in the booth occupied by the ladies of the Central Christian Church. The flames spread rapidly throughout the booths, and the Masonic Temple was the first building to suffer damage on the corner of Seventh Street and Ann Avenue. All efforts to save the structure proved futile. Among the losses were Scottish Rite paraphernalia and stage settings, valued at $50,000; their insurance only covered $16,000 of the loss (Kansas City Gazette. 27 Oct. 1906, page 1). Other newspapers reported the loss paraphernalia, furniture, fixtures and stage scenery, was valued $20,000 and only insured for $6,500 (Kansas City Gazette. 27 Oct 1909, page 1). Many other Masonic bodies in the building also lost uniforms, regalia, ritual and records, including Wyandotte Lodge No. 3, the oldest Masonic lodge in Kansas.

On October 27, 1906, the Kansas City Gazette reported “The Masons Will Rebuild.” The article quoted R. J. McFarland, general secretary of the Scottish Rite, who said, “We have definitely decided on a magnificent building to be erected on our property at Seventh and Ann at a cost of $10,000. As we depend entirely on our members it must be through them that we raise the amount necessary. We will hold a meeting Wednesday evening of all Scottish Rite bodies to discuss various plans regarding funding.” Grand Commander James D. Richardson and grand secretary Frederick W. Webber, or Washington, D.C. were in attendance at the meeting.

The Scottish Rite bodies approved plans for the new Masonic Temple on June 5, 1907. Again W. W. Rose designed the new four-story structure that included a sixty-foot frontage on Seventh street and a depth of 136 feet on Ann Avenue. The exterior of the building was noted as a mixture of “Hebrew and Arabic,” with the roof being supported by “Moorish pillars” (The Weekly News, 7 June 1907, page 1). The auditorium and stage were located on the second, third and fourth floors, with the fly loft rising to the roof. The large space included a forty-foot stage and balcony with a seating capacity of 800.

Description of the new Scottish Rite Building i Kansas City, Kansas, 1909.

The Kansas City, Kansas, Scottish Rite building, 1909.

Aerial view of the Kansas City, Kansas, Scottish Rite building.

Detail of fly loft in an aerial view of the Kansas City, Kansas, Scottish Rite building.

In 1909, the new Scottish Rite building was dedicated in Kansas City, Kansas. The Kansas City Times reported, “The Scottish Rite Temple in Kansas City, Kas., which cost $100,000, will be dedicated at 8 o’clock tonight. The ceremony will be performed by James D. Richardson, sovereign grand commander of the Scottish Rite Masonic bodies in the United States. This ceremony will close the twenty-third semi-annual reunion of the Rite in Kansas City, Kas. A class of 150 persons have taken degrees from the fourth to the thirty-second at this reunion” (19 Nov 1909, page 12). The Fall Reunion was the twenty-third for the Valley of Kansas, Orient of Kansas. On the first day of the reunion, Thomas Wentworth Harrison of Topeka, SGIG in Kansas was in attendance (Kansas City Times 18 Nov. 1909, page 1). On the second day of the reunion, the degrees of Victory Chapter Rose Croix were conferred on a class of seventy-five candidates. In the third day, the degrees from nineteen to thirty inclusive in John H. Brown Council Knight Kadosh were conferred to the candidates.

To be continued…

Travels of a Scenic Artists and Scholar – The Boston Scottish Rite’s LED Wall

The Boston Scottish Rite primarily uses an LED wall for the degree production backings. I had the opportunity to examine the effect on April 12 before my afternoon flight. My host went out of his way to take time from his full schedule to share both the building and his work.

LED wall at the Boston Scottish Rite next to a historic dye drop

The Boston Scottish Rite has only a few historic backdrops, ranging from the early to mid-twentieth century. The later versions are fairly crude traditions of standard themes, done in brilliant dye work. It really is an odd mix of painted elements. The theatre is located on the seventh floor of a building with architecture that is reminiscent of many Northern Masonic Jurisdiction Scottish Rite theaters, Gothic in feel.

The Boston Scottish Rite stage and LED wall.

I was anxious to see how well an LED wall worked in a historic venue. There can be many short-term benefits to embracing digital scenery before the system becomes obsolete and/or irreparable. Scene changes require no stage crew and the subject matter is limitless, with endless possibilities for backings during degree productions.

However, I recognized that the use of digital images in lieu of historic scenery could result in an overall loss of scenic illusion on the stage. Until I saw the LED wall in Boston, I was unsure as to the extent. There is increased realism for the backing and more flexibility of subject matter, but there is something missing from the stage aesthetic. It is as if the soul of the stage has disappeared, with the space being transformed into something entirely different.

There are a few things to consider when contemplating a switch from traditional painted scenery to digital imagery for Scottish Rite degree productions.

LED walls are fantastic for many things, but the technology is racing so fast that they become obsolete in a relatively short period of time. This nuance of technology is frequently not fully understood by those purchasing a new system. Often the Masonic clients have lived with their historic scenery and stage machinery for decades, and they expect a new system to last just as long. This is especially pertinent if a substantial amount of money is being spent on an entirely new system.

A parallel could be made with much older adults who consider the purchase of a computer as an investment, not a short-term appliance that will soon have to be replaced as technology continues to advance. The same can be said with motorized line sets, lighting systems, and any other digital systems; at some point they will need to be replaced as they will not last for an extended period of time. Many modern components for the stage with computer systems and software cannot last for decades, as technology races forward, thus making replacement parts often unavailable when the need for a repair occurs a few years down the road. At some point the technology will need to be repaired or replaced. As we experience with many other appliances in our home, it may not be possible to get the necessary replacement parts if our specific the model is no longer being produced as better versions are available. Does the client realize that their new technology has a proverbial shelf life and that the entire system will soon need to be replaced?

Regardless of the ease of use, or anticipated life expectancy of an LED wall, its mere presence is incongruous with the visual aesthetic established by historic costumes and properties. What made the traditional painted illusion so successful was that the selection of scenery, props and costumes where selected as a part of a unified visual whole; one intended to be illuminated in a very specific way. To overcome the brilliancy of the LED screen as a backing, I would be curious to see how bright the front light needs to be during degree productions.

A few digital images that the Boston Scottish is using for their LED wall is identical to that used by the Fort Worth Scottish Rite. The photographs originated from a scenery collection produced by Don Carlos Du Bois, representing the Great Western Stage Equipment Co. of Kansas City. The stage compositions are vibrant and very characteristic of the mid-twentieth century. As projections, there is a tendency for fading and a loss of detail. I again noticed this on the USITT Expo floor when looking at a rear projections screen placed next an actual backdrop. The dark areas weren’t as dark as they needed to be. There is a lack of overall contrast, and everything seems to be a just little too light. At the time, I considered how well a rear projection screen would work for degree productions, with performers being placed in front of so much light.

Now the digital images of historic backdrops on an LED wall are even brighter. The spacing between individual LED lights is based on the viewing distance. Just as scenic art painting techniques fall apart as the viewer nears the backdrop, so do individual LED lights that relay the overall image; the farther away the audience is, the greater spacing between the lights. This is why they work so great for rock concerts in auditoriums that seat thousands of people. At the Boston Scottish Rite, the LED wall reads best from the back row of the auditorium, not from the first few rows. It is almost too much technology for the relatively intimate space as you near the stage, let alone step onto the stage.

Now, let’s consider the overall experience of degree participants, after all, that is a major consideration when altering degree work practices. An LED wall creates an entirely different environment for the stage performer. Stepping onto stage in the midst of a fully lit historic scene is magical. You are encompassed by brilliant color and detail, becoming part of the scenic illusion. In the short time that I stood next to the LED wall in Boston, my eyes hurt. The brilliancy for the screen overpowered the entire stage and was very distracting.

A scene on the LED wall at the Boston Scottish Rite

The same can be said for the audience experience as you are watching degree work in front of an LED wall. There is a distinct light spill from the image on the screen and I would be curious to see how much front light on the performers is necessary. Just as dimly lit stages cause visual fatigue for the audience, so do brilliantly lit compositions, especially if you are ten feet way.

I am curious to see how long this system will last in Boston and hear about the Scottish Rite degree participants’ experiences.

To be continued…