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Tales from a Scenic Artist and Scholar. Part 1081 – The Majestic Theatre of Dallas, 1921

In 1921, Thomas G. Moses wrote, “Mitchell of Mitchell and Halbach has engaged my services for Dallas, Texas, for the new Majestic Theatre.”

To clarify, a well-known interior decorating firm subcontracted some of the work for the new Majestic Theatre in Dallas to Thomas G. Moses, representing Sosman & Landis. Since the establishment of Soman & Landis, the firm delivered stage scenery and painted décor for a variety of venues. This does not mean that Moses was credited for any of the Majestic Theatre painting as a subcontractor.

Since the late nineteenth century, Mitchell and Halbach were well known interior decorators and furnishers, located at 1715 S. Michigan Ave. in Chicago, Illinois. In 1921 they advertised as “specialists in high class interior decorations and furnishings for public and private buildings. Moses had even hired Mitchell & Halbach to decorate the rooms in his own home.

Later in 1921 Moses specified his contribution to the Majestic Theatre in Dallas, writing, “I was successful with the asbestos curtain, and then went on to the wall decorations, which were very interesting and finally the playroom which was doubly interesting.” Moses remained in the south for nine weeks, working on the Majestic Theatre, Dallas Shrine scenery, and negotiating future contracts with the Scottish Rite in Little Rock, Arkansas.

Asbestos curtain painted by Thomas G. Moses, representing Sosman & Landis, that was subcontracted by Mitchell & Halback for the Majestic Theatre in Dallas, Texas, 1921.

Moses was accompanied by his wife Ella [Madam] when they headed south that February, writing, “On the 15^th I started for Dallas, where I arrived the next day, late in the afternoon. I was pleased to get this work as it was away from the extreme cold weather and a novel adventure for the Madam and myself.”

Later that spring, Moses wrote, “Made a side trip to Little Rock to settle on the Scottish Rite Temple. I hope to be able to close the contract very soon. I enjoyed the trip as I saw some very interesting old buildings. On my return to Dallas, it didn’t take me long to complete the work.

Of Moses’ Majestic Theatre painting, advertisements announced, “In the vast auditorium that seats 3,000, a Roman Garden has been reproduced in detail. Overhead a sunset sinks to rest, sending the flaming amber tinted farewell to a sky that heralds the night with its millions of twinkling stars. One every side, seen over flower-covered walls, is a vision of ‘Gods Out-of-Doors, cloud-kissed hills with dormant Vesuvius rising on the distance to greet them” (Corsica Daily Sun, 1 April 1921, page 10).

Dallas Majestic Theatre advertisement published in the “Corsicana Sun,” 1 April 1921, page 10.

The Majestic Theatre in Dallas opened on April 11, 1921. It was advertised as the “New 2 Million Dollar Peak on the Dallas Sky-line” (Corsicana Daily Sun, 1 April 1921, page 10). This was the flagship of Karl St. John Hoblitzelle’s Interstate Amusement Company chain of theaters. Replacing Hoblitzelle’s previous Majestic Theatre from 1905 that burned to the ground in 1916. Located at the corner of Commerce and St. Paul streets, the five-story building boasted 20,000 square feet and was also home to business offices for Hoblitzelle. The Renaissance Revival structure was designed by John Eberson.” Later in 1921, Moses would write, “Did two watercolors for Mr. Hoblitzelle, which I trust will be pleasing to him and his wife.” Moses frequently gifted fine art paintings to his theatre clients. It was a personal thank you for the work and added credibility to the artistic works for the stage.

Dallas Majestic Theatre advertisement published in the “Dallas Express,” 8 Oct 1921, page 7.

On October 13, 1921, the “Corsicana Daily Sun” reported, “When Fair visitors go to Dallas this year there will be one place they will all want to go – The New Majestic of Dallas, For to come to Dallas and fail to see this palatial show house would be like going to Rome and forgetting to visit the Vatican. The New Majestic of Dallas is conceded to be the peer of all playhouses in the world for it possesses a Majesticland. A playground that is all of 90 feet long and 50 wide- containing all manner of toys, animals, merry go rounds, slides, etc. Mary Garden the famous diva of the Chicago Symphony Opera Co. declared that even she – in her plans and ambitions for an ideal playhouse never dreamed of such innovation and theatredom as Majesticland. But Majesticland is the only one of the many perfect details of this beautiful theatre. Throughout it is an example of the highest art. Patterned after the beautiful decorations of Louis Sixteenth it stands alone in its simple elegance of beauty n in the entire southwest” (page 10).

Advertisements stated, “The ancients never thought of going to Rome without visiting the Coliseum. No one thinks of going to Paris without visiting the Louvre. No one thinks of going to Washington, D.C. without seeing the Capitol Building and White House. Correspondingly – on one thinks of going to Dallas without visiting the New Majestic Theatre – the Greatest Amusement Institution in America” (Dallas Express, 8 Oct. 1921, page 7).

The “Scenic Artists” column in “The Billboard” that year reported, “Thos. G. Moses, art director for the Sosman & Landis Studios, is at Dallas, Tex., painting the new curtain and mural gardens in the new Majestic Theater now under construction. Mr. Moses states that this new Dallas House is one of the most wonderful in the country, having a number of unique features that make it interesting.” This article was clipped by Moses and placed in his scrapbook. There is no exact date or page number.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1055: The Algeria Shrine Temple in Helena, Montana, 1920

In 1920 Thomas G. Moses wrote, “My models for the Shrine got us a good contract in Helena, Montana, something over $11,000.00.”

This was the Algeria Mosque for the Ancient Arabic Order of the Nobles of the Mystic Shrine, also known as the Algeria Shrine Temple. Designed by George S. Carsley and Charles S. Haire, the building included a 17-story minuet. When the structure was completed, local newspapers announced that 3,500 individuals could fit in the auditorium (Glasgow Courier, 8 April 1921, page 2).

The Shrine Temple, also known as the Algeria Mosque, in Helena, Montana.

Helena Shrine Temple, the Algeria Mosque.

On Dec. 10, 1920, the “Glasgow Courier” reported, “Algeria Temple is planning one of its most important ceremonials next March, when the new mosque will be dedicated, and it is expected the officers of the imperial council will be present. In addition, invitations will be sent to many of the leading Shriners in North America. The date for the ceremonial will be announced later. It is understood a large class will be on hand for the trip over the sands at that time” (page 1).

From the “Conrad Independent,” 20 May 1920, page 9

The cornerstone laying ceremony was planned for June 19, 1920, immediately after the four-day Scottish Rite Reunion. On April 8, 1921, special trains carrying Shriners arrived in Helena for the dedication of the building (“Independent-Record,” 26 March 1921, page 9). The “Glasgow Courier” reported, “Chicago, Sioux City, Spokane, Omaha and St. Paul are sending large delegations. Great Falls, Billings, Butte, Miles City and Missoula are planning for special pullman loads of stockmen, businessmen and bankers. The Helena commercial club, which is in charge of local arrangements is expecting to take care of 1500 people” (April 8, 1921, page 2).

On April 9, the “Butte Miner” reported, “With more than 3,000 out of town members of the Mystic Shrine in attendance, the new temple of the Algeria Shrine (Helena) was dedicated today. Imperial Potentate Ellis Lewis Garretson was here from Tacoma, Wash., and officiated at the dedicatory ceremonies. A large class was initiated into the order at a ceremonial last night when the new temple was used for initiation for the first time” (April 9, 1921, page 1).

The building changed hands after extensive damage caused from an earthquake in 1935. As Shriners were unable to fund the necessary repairs, the city purchased the building by 1938.

Damage to the Shrine Temple in 1935. Image from “Helena As She Was” – http://www.helenahistory.org/civic_center.htm

Repair after the 1935 earthquake. Image from “Helena As She Was” – http://www.helenahistory.org/civic_center.htm

In 1939 a fire station was added to the structure and the building became home to government departments until 1979. The Algerian Temple is now known as the Helena Civic Center. For more information about the space, visit “Helena As She Was” – http://www.helenahistory.org/civic_center.htm

To be continued…

Tales from a Scenic Artist and Scholar. Part 1020 – Ancient Arabic Order of the Nobles of the Mystic Shrine in Pittsburgh and Denver, 1919

In 1919 Thomas G. Moses wrote, “A large drop curtain for Pittsburg Shrine took up a lot of my time, it being over 70’ long and 26’ high. I did the picturesque city of Tiberius, and it made a good picture. A heavy gold frame gave it a very Oriental feeling.”

Previously, Moses closed an $8575.00 contract for Pittsburgh’s 3,700-seat Syria Shrine Mosque theater (see past post 906, https://drypigment.net2020/01/19/tales-from-a-scenic-artist-and-scholar-part-906-the-pittsburgh-shrine-1915/). In 1915, he wrote “May 15^th, I went to Pittsburg with my big models for the Shrine and closed for $8,575.00.” A year later Moses wrote, “The Syria Temple of Pittsburg is still jogging along. If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners.” The article continued, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon…. Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple…Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of-town visitors. Thursday night the largest class of candidates was initiated. The number ran close to 700 and is probably the largest to be accepted at one time in the history of the Shrine…Initiation took place in the auditorium, the officers in the charge wearing new costumes. During both ceremonies the elaborate lighting system was demonstrated. Rays from two search light machines, made soft, played in the stage throughout.” (Greenville, Pennsylvania, page 1). This provides context in regard to the scale of Shrine initiations in 1919, as that year Moses also designed and painted scenery for Denver’s El Jebel Shrine ceremonies.

In the summer of 1919, Moses wrote, “In August I made a number of Shrine models for Denver and we received a contract.” “The Indian Journal” of Eufaula, Oklahoma described the El Jebel Temple was “one of Denver’s most beautiful and imposing buildings” (23 Oct. 1919, page 1). It may have been a lovely theater, but it was not grand enough for a massive gathering of Shriners on Nov. 21, 1919.

The El Jebel Shrine theater was too small for the ceremonial production in 1919, causing the Shriners to rent the Denver Auditorium.

For the event, Shriners staged the Shrine ceremonial at the Denver Auditorium, complete with special scenery. Moses recorded that the scenery shipped from Chicago on November 1, 1919; plenty of time for transportation, inspection and installation at the Denver Auditorium. The event was a multi-state Shrine initiation. On Nov. 28, 1919, the “Western Kansas News” announced, “Initiation at Denver was biggest Masonic affair ever held in the West.” The article continued, “The initiation was the greatest every attempted by any Shrine in the west. The cost of the scenery and other essentials represented an expenditure of over $11,000. The large and beautiful Shrine Temple in Denver was entirely too small for the event which resulted in securing the Denver Auditorium for the ceremonial. The large auditorium which seats many thousand people was crowded to its doors by Shriners from Colorado, Kansas, Wyoming and New Mexico. This was a big production for Moses and by the end of the year he reflected, “While we have been very busy the whole year, we have not done any very notable productions, excepting the Coliseum shows and Denver.” The demand for painted scenery was down everywhere, except for Masonic productions. The fraternity was alive and thriving.

The massive interior of the Denver Auditorium provided ample room for a large Shrine event.

The Denver Auditorium was the location for a massive Shrine initiation in 1919.

To be continued…

Tales from a Scenic Artist and Scholar. Part 947 – Murat Theatre, 1917

In 1917, Thomas G. Moses wrote, “Got a $1,430.00 contract from the Murat Theatre.”

Murat Shrine Building in Indianapolis, Indiana.

Sosman & Landis previously provided scenery for the Ancient Arabic Order of the Nobles of the Mystic Shrine in Indianapolis, Indiana.

The Shrine building was named for the Nubian desert oasis Bin Murat. Bin Murat was named after Napoleon’s general Joachim Murat during his Egyptian campaign. The Murat Shrine in Indianapolis was located at the corner of Massachusetts Avenue and New Jersey Street. The theater officially opened on March 1. By March 3, 1910, “The Waterloo Press” included a lovely article on the new structure in an article entitled “New Murat Theatre Opens” (page 2). The article reported, “The Murat Theatre, contained in what is said to be the most elaborate Mystic Shrine temple in the United States, was opened at Indianapolis, Ind., under the management of the Schubert Theatrical Producing Company. The temple, completed, will cost $250,000, but only the theatre has been finished. James T. Powers and his company, in the musical comedy, ‘Havana,’ gave the first performance in the theatre. Only the members of the Mystic Shrine were admitted but the subsequent performances will be public. The theatre is decorated with mural pictures representing camel caravans passing through a desert and approaching an oasis, and with other allegorical paintings symbolic of the significance of the Mystic Shrine.” The Schuberts leased the theater from 1910 to 1930. In 1910 Sosman & Landis also provided stock scenery for the Schuberts’ newly acquired Great Northern Theatre in Chicago.

From the “Elwood” Daily Record, 5 April, 1910, page 2.

To be continued…

Tales from a Scenic Artist and Scholar. Part 941 – The Joe Bren Company and Minstrel Shows, 1916

Sosman & Landis delivered scenery for hundreds of productions that were not mentioned in Moses’ diary during 1916.

One Sosman & Landis client in 1916 was Joe Bren, a minstrel show producer. The Joe Bren Company was a Chicago-based theatrical company that partnered with fraternities and civic groups to stage fundraising shows. Company representatives traveled from town to town, working with local talent to organize minstrel reviews; working as the producers, directors and performers for each endeavor. The Joe Bren Company not only provided instruction, but also all of the technical trappings to produce the show, including scenery by Sosman & Landis, lighting equipment and “resplendent costumes” (The Gazette, Cedar Rapids, Iowa, 12 Feb 1916, page 8).

From “The Catholic Tribune,” Joe Bren 11 Nov. 1916, page 7.

The Joe Bren Company primarily staged minstrel shows in 1916. The Bren Company was especially popular with the Kiwanis Club, Lions, American Legionnaires, United Commercial Travelers, Benevolent and Protective Order of Elks, and Ancient Arabic Order of the Nobles of the Mystic Shrine. In 1916, Bren’s company was featured in “The Sunflower Council No. 31 United Commercial Travelers Grand Minstrel Revue.”

Bren was also contracted for the “Amin Temple Shriners Minstrel show,” as well as “The Elks Grand Minstrel Review.”

From the “Press and Sun Bulletin,” Binghamptom, 28 Feb 1923, page 11.

As I was looking for a little history surrounding Bren, and came across “A History of Broadcasting in the United States: A Tower of Babel to 1933” by Erik Barnouw. Barnouw explains the Joe Bren Company “made a business of staging local shows throughout the United States for lodges, churches and clubs” (page 225). He goes on to describe, “Local talent was used; the Joe Bren Company supplied sketches, jokes, songs, costumes, and supervision.” Freeman Fisher Gosden, who later played “Amos” of Amos ‘n’ Andy, traveled for Bren. In fact, Gosden truly began his professional career as an entertainer with Bren, going on the road to organize reviews, minstrel shows and carnivals. Charles Correll, who later portrayed “Andy” of “Amos ‘n’ Andy” also worked for Bren. For those who are unfamiliar with the radio show, “Amos ‘n’ Andy:” https://www.nytimes.com/1972/12/31/archives/weaf-700715-ow-wah-ow-wah-ow-wah-amos-n-andy-the-angelus.html and

https://en.wikipedia.org/wiki/Amos_%27n%27_Andy

Freeman Fisher Gosden and Charles Correll as “Amos ‘n’ Andy.”

Here is a peak into the popularity and productivity across the country during the year that Joe Bren hired Thomas G. Moses of Sosman & Landis to deliver scenery for their shows:

In 1916, the Joe Bren Company produced “A Grand Minstrel Revue” for the Elks in Paducah, Kentucky (News-Democrat, 19 Jan. 1916, page 8). Shows under the direction of Ralph Hamilton, representing the Joe Bren Company included the Shrine Minstrel Show in Springfield, Missouri (Springfield News-Leader, 9 Nov. 1916, page 3), the Shriners Minstrel Show in Sioux Falls, South Dakota (Argus-Leader, 18 Oct. 1916, page 5), the United Commercial Travelers Lodge Show in Salina, Kansas (Salina Daily Union, 27 April 1916, page 4), the Shrine Minstrel Show in Munster, Indiana (The Times, 8 Feb. 1916, page 1), the Elks Minstrel Show in Hutchinson, Kansas (The Hutchinson, News, 21 Feb, 1916, page 2), the Elks Follies in St. Joseph, Missouri (Catholic Tribune, 11 Nov. 1916, page 7), the Jollies of 1916 in Lincoln, Nebraska (Lincoln Star 19 Nov. 1916, page 19), and the Shrine Minstrels of Cedar Rapids, Iowa (Gazette, 21 Jan. 1916, page 1).

Ralph Hamilton of the Joe Bren Company, from “The Times” (Munster, Indiana) 8 Feb 1916, page 1.

Other Joe Bren Company collaborations included the Mohassan Grotto Minstrel Show in Davenport, Iowa (Quad-City Times, 30 Aug. 1916, page 3), the United Commercial Travelers Lodge Show Lodge No. 127 in Shreveport, Louisiana (Shreveport Journal, 11 May 1916, page 5), the United Commercial Travelers Lodge Show in Wichita, Kansas (Wichita Beacon, 15 Feb 1916, page 9), the Elks Minstrels in Independence, Kansas (Independence Star, 10 April 1916, page 2), the Sons of Black Hawks (S.O.B.H.) Minstrel Show in Waterloo, Iowa (The Courier, 1 Feb. 1916, page 9), the Shrine Minstrel Show in Montgomery, Alabama (10 Jan. 1916, page 7), the Elks Minstrel Show in Kenosha, Wisconsin (Kenosha News, 31 Oct 1916, page 1), and the Shriner Minstrels in Knoxville, Tennessee (Knoxville Sentinel, 5 April 1916, page 5).

Jo Alex Robb was another “advanced director” for the Joe Bren Company. He took charge of the Shrine Minstrel Show at the Alhambra Temple of Chattanooga, Tennessee (Chattanooga News, 11 Dec, 1916, page 7).

The Joe Bren Company was quite sophisticated, with a staff that travelled the country and helped produce shows. Like Sosman & Landis, they tapped into a unique form of clientele that was driven by the “everyone wants to be a star” mentality. There were, and are, many people who want their moment on stage, a chance to shine under stage lights, and Joe Bren delivered that – an opportunity to don a costume and perform on stage in front of professional scenery. Although the Scottish Rite had private performances for its members, it was based on this same principal; you take an ordinary citizen and let him be an actor on a professional stage.

Over the years, the theatre industry has continued to draw upon this particular drive, the desire to be a performer. I also think of past productions that awarded top donors an opportunity to participate in a production as supernumeraries; they were dressed up for a stage scene, but they were able to associate with professional actors and stand on stage before a large crowd.

The only true flaw in this formula is the blackface nature of the minstrel show and the deepening of racism in America. These shows were immensely popular, with many new stage effects being developed by lighting and scenery manufacturers. They also perpetuated prejudice and validated racism, one that thrives today even today. There were still blackface minstrel shows in the 1960s. On March 20, 1970, Vermont’s “Burlington Free Press” reported, “Black face minstrel shows still take place in many Vermont high schools” (page 2). By the late 1970’s newspaper articles fondly remember blackface minstrel shows, recounting comic routines between “black-face clowns” (News-Press, 8 Dec 1974, page 79). In 1977, the “Bennington Banner” included an article about the Lions Club Variety Show announcing, “No black face, but minstrel spirit remains in Arlington” (Bennington, Vermont, 24 March 1977, page 8.

The article describes, “One echo of minstrel days has not died. That’s the tambourines, when the lights go down. Day-glo painted on the lips and hands of the tambourinists and fluorescent ribbons create that old contrast of bright and darks that inspired black face to begin with.” In other words, instead of blackening the skin and exaggerating the white lips, associated with stereotypical representations of African Americans; they just used bright paint to exaggerate the lips, the iconic illustration of a black-faced performer. Is it any surprise that there was a large group of white supremacists just waiting for validation from a public leader again?

To be continued…

Tales from a Scenic Artist and Scholar. Part 906: The Pittsburgh Shrine, 1915

In 1915, Thomas G. Moses wrote, “May 15^th, I went to Pittsburg with my big models for the Shrine and closed for $8,575.00. A good one.”

Moses’ designs were for Syria Shrine Mosque, a 3,700-seat auditorium. 1913, the Syria Improvement Association mailed a prospectus outlining plans for a new building. A parcel of land known as the old Schenley Farm land was identified as the site for a new building that year. Two years later, ground was broken for the new temple on April 20, 1915. It was around this time that Moses secured the contract for $8,575.00 worth of scenery; today’s equivalent of $218,173.47.

On June 19, 1916, the laying of the corner stone for the Syria Shrine building was preceded by “a parade of 3,000 nobles, headed by a half dozen bands” (Indianapolis Star, 20 June 1915, page 6). Newspapers reported that the parading nobles were clothed in full dress suits, wearing their traditional red fez as headgear. The Shrine patrol was dressed in their oriental costumes for the parade. The largest flag in the United States at the time was also carried in the parade.

April 20, 1915, groundbreaking ceremony, Syria Shrine Pittsburgh.

In 1916, Moses wrote, “The Syria Temple of Pittsburg is still jogging along. If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” Later that year he added, “Stopped at Pittsburg on my way home and inspected the Syria Temple work. It looks very good to me and everyone seems to be well please with it.”

On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners. New Million Dollar Temple at Pittsburgh a Shrine of Oriental Magnificence” (Greenville, Pennsylvania, page 1). The article described, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon. Solemn ceremonies, including the ritual of the Shriners, attended the dedication, which was completed before a large crowd. Prominent men of the order from every section of this country, Canada and one from Hawaii took part in the festivities, which were held behind closed doors…Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple. The dinner was informal and speeches were tabooed. Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of town visitors.

Thursday night the largest class of candidates was initiated. The number ran close to 700 and is probably the largest to be accepted at one time in the history of the Shrine. Instructions were given candidates in Memorial Hall in the afternoon and at 7 o’clock they were formally accepted.

Initiation took place in the auditorium, the officers in the charge wearing new costumes. During both ceremonies the elaborate lighting system was demonstrated. Rays from two search light machines, made soft, played in the stage throughout.”

The dedication ceremonies occurred over the course of a week in October, with an estimated 40,000 guests attending various activities.

The Syria Shriner’s website notes, “A movement began in the late 1980’s to replace the aging structure with a new facility that offered greater amenities to suit the needs of its members and its special events business. The Syria Mosque went up for sale in June of 1989. The building was demolished August 27, 1991. In October 1994, the Syria Shrine Center opened its new, 40,000 square foot, $10 million facility set on 37 acres in Harmar Township, Cheswick, PA. Great effort was spent to retain some of the classic features of the former Mosque, such as the twin sphinxes which guarded the entrance and the immense chandeliers which hung in the auditorium.” Here is the link to the Syrian Shrine history for more details: https://www.syriashriners.org/history/

There is a little more to the story. On March 1, 1992, “The Morning Call,” noted, “The Syrian Mosque was a Pittsburgh landmark. Alas, it recently came under the wrecker’s ball. Prior to its demolition, it was home to a prestigious Pittsburgh antiques show, the Pittsburgh Symphony, and a theater group. It was one of seven temples in Pennsylvania” (Allentown, Pennsylvania, page 102). Now fast-forward twenty years.

In 2012, the “Pittsburgh Post-Gazette” published, “Two decades later, razing of Syria Shrine Mosque still a sore topic” (Sept. 23, 2012.) The article detailed, “Despite one of the fiercest preservation battles in the city’s history that culminated with Mr. Ferlo, then a Pittsburgh city councilman, and three fellow supporters being arrested the morning bulldozers rode in on Aug. 27, 1991, the Mosque and its acoustically perfect hall couldn’t be saved. Now in its place is a surface parking lot for UPMC and University of Pittsburgh employees. The building’s owner, the Shriners, had it demolished so that it could sell the 2 acres of land under it to UPMC, then known as Presbyterian University Health System, for $10 million. ‘At the time it was probably one of the highest prices ever paid for real estate in the city at $5 million an acre for land,’ said Greg Hand, who was vice president in charge of development and construction in 1991 for National Development Corp. and was the main architect behind the deal that brought UPMC together with the Shriners. Though the hospital system tried to conceal its role as buyer for months in 1991 — until it was forcibly revealed during a court hearing — its purchase of the site, and what it has done with it since, is for many observers a prime example of how UPMC pays inflated prices for taxable land and takes it off the tax rolls… The site was converted into a ‘temporary’ parking lot, and UPMC converted it from taxable to tax-exempt. In 1991, the last year the building was in use, the Shriners paid $66,535 in property taxes to the city, county and school district.” Here is the link for the full: https://www.post-gazette.com/local/city/2012/09/23/Two-decades-later-razing-of-Syria-Mosque-still-a-sore-topic/stories/201209230185

In 2016 the former Syria Mosque property made headlines again when the “Pittsburgh Post-Gazette” announced, “A committee of University of Pittsburgh trustees today approved acquisition of the former Syria Mosque property in the heart of the school’s Oakland campus from UPMC for $10 million. The vote by the Property and Facilities Committee involves 2.1 acres of undeveloped land just north of Fifth Avenue between Bigelow Boulevard and Lytton Avenue. Decades ago, the property was ground zero for one of the roughest land preservation fights in city history. The site already is zoned Educational/Medical/Institutional (EMI), which facilitates university usage of the property, Pitt said in a statement released minutes after the mid-afternoon vote. ‘The University continually monitors the local real-estate market for strategic opportunities to acquire buildings or land that are in close proximity to any of its University campuses and suitable to support and advance the University’s mission,’ said Art Ramicone, senior vice chancellor, chief financial officer, and interim senior executive vice chancellor for business and operations. ‘Opportunities such as this, to acquire property of this nature in Oakland, are extremely scarce.’ A committee of University of Pittsburgh trustees today approved acquisition of the former Syria Mosque property in the heart of the school’s Oakland campus from UPMC for $10 million.”

How unfortunate. I wonder what ever happened to the scenery.

To be continued…

Tales from a Scenic Artist and Scholar. Part 810 – Medinah Temple, 1912

Postcard depicting the Medinah Temple, A.A.O.N.M.S. in Chicago, Illinois.

In 1912, Thomas G. Moses recorded that Sosman & Landis delivered Scottish Rite scenery collections to Santa Fe, New Mexico, Portland, Maine, and Bloomington, Illinois. In addition to Scottish Rite theaters, Sosman & Landis secured the Shrine scenery contract for the Medinah Temple in Chicago. Of the work, Moses wrote, “Sketches for the Medinah Temple were accepted and work awarded us. The drops are 26 x 65 – some size.” The Medinah Temple faced Cass Street and extended from Ohio Street to Ontario Street.

I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine. I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge (first three degrees), he continues his education as a Master Mason in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine. The “Shrine” was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of extending their Masonic education in the Scottish Rite/York Rite, and immediately jettison into the Shrine.

On October 30, 1912, newspapers advertised, “Masonic Temple in Chicago Dedicated” (“Decatur Herald, 31 October 1912, page 4). The article reported, “The new Medinah temple was dedicated here tonight by the Order of the Nobles of the Mystic Shrine. More than 9000 Masons headed by Imperial Potentate William J. Cunningham of Baltimore, took part in the ceremonies which were elaborate. The building, which cost $650,000 is the finest of its class in the world. It has a seating capacity of 6000. The stage can accommodate another thousand persons.” The seating capacity was actually 4500, not 6000.The building was designed by architect Harris W. Huell of Huell and Schmidt, in the Moorish Revival style, with scenery and stage machinery by Sosman & Landis of Chicago. The Medinah Temple auditorium was also well known for its superior acoustics and 92-rank pipe organ.

Design for the Medinah Temple stage, now part of the Holak collection at the Performing Arts Archives, University of Minnesota libraries.

Over time, the building fell into a state of repair and the sale of the property was presented to the membership. In preparation for a future move, the Masons liquidated many if the building’s contents, including the 80’-0” Gustav Brand painting of a pilgrimage to Mecca, oriental tapestries, vintage furniture, regalia, stage costumes, circus ephemera, and the list goes on. I have repeatedly discussed the liquidation of Masonic contents in historic buildings. In many cases, there is a lack of understanding in regard to the cultural significance of many fraternal artifacts, especially their historic importance. Masonic artifacts are being sold and thrown out quicker than they could ever be documented. In about a decade, after a new generation of Masons has joined the Fraternity, they will question the actions of the current generation. These future members will realize what was squandered for the benefit of a relatively few.

The Medinah Temple in Chicago, Illinois.

By the turn of the twenty-first century, there was an attempt to save the city of Chicago attempted to save this historical landmark while repurposing the structure. $14,000,000 in state and federal money assisted Federated and Bloomingdales. Medinah Temple reopened as Bloomingdale’s Home Store in 2003. The space was renovated with retail in mind. The interior coffered plaster dome, proscenium opening and stained glass windows were preserved. The original first floor, once six feet above street level, was dropped to grade. Local newspaper articles boasted of the building’s renovation and the project even won awards. Meanwhile, the Shriners had relocated to another venue in the western Chicago suburb of Addison.

I visited the renovated structure in 2014 while attending a League of Historic American Theatres regional conference. I was fortunate to have a few free hours during the event as it provided me an opportunity to go on a walking tour with a Masonic friend in town. As we searched for original ornamentation and discussed the Medinah Temple’s history, I could not help but grieve for the overall loss. The building’s exterior may have been saved, but the soul of the space was gone.

Last fall, the Medinah building was placed on the market again, appearing in newspapers articles during August 2018. The 130,000 sq. ft. building was a mere victim of Bloomingdale’s nationwide downsizing. Using public money to restore a historic building for retail may not be the solution and I have to wonder if the $14,000,000 in state and federal money merely prolonged the inevitable. Here is a link to an online article about the Medinah building with some lovely architectural details: https://www.wbez.org/shows/morning-shift/whats-that-building-medinah-temple/3e8d9257-2f34-4126-953b-f4aee23d31a4

To be continued…

Tales from a Scenic Artist and Scholar. Part 801 – Universal Scenic Studio and the Abdallah Temple in Leavenworth, Kansas, 1922

Abdallah Shrine Scenery article in “The Leavenworth Times,” May 14, 1922.

On May 14, 1922, “The Leavenworth Times” reported that Universal Scenic Studio was creating new scenery for the Abdallah Shrine in Leavenworth, Kansas; both a permanent set for the space and a touring version when the Shrine visited other cities.

Here is the article in its entirety:

“’The Crescent is the official Shrine organ, published in St. Paul, Minn. A story in the May number of the publication, which follows, several of the special drops are described but the one that interests Leavenworth people the most and the one with which all are familiar, has been overlooked. This is the woods scene, taken from a photograph of Shrine Park, taken from the lake, looking south toward the bog dam that was constructed by the Fair organization. This scene is quickly recognized by all who have been inside the temple.

Of the other scenes, The Crescent, under the caption ‘Abdallah’s Stage Settings’ says:

It is safe to say that no Shrine temple in North America will possess more magnificent scenery for staging ceremonials that will Abdallah of Leavenworth, Kansas.

The Crescent man has viewed the scenic sets in the making, and if the Abdallah stage stuff is not

‘real class’ then Mohammed was a bum showman.

It just happens that the scenery is being made in St. Paul, where The Crescent mixes with the other saints and that Noble Boyd P. Joy is the man who is making it at Universal Scenic Studio, and those facts gave The man to take chance to see the stage equipment.

We wanted to say that before going ahead with this yarn, and to add that this story is being written, not as a paid advertisement, but as an appreciation of what is being done for Abdallah and her nobility to enjoy.

And that’s that.

Out of 4,000 yards of canvas and 4,000 feet of lumber, coupled with the many gallons of various colored paints, by artists who know their business, Noble Joy is creating reproductions of Meccas, the palaces and the Caliphs, and other views of equal importance to the story of the ritual.

Beginning with the asbestos curtain, showing an asbestos scene, every figure life size, and running through all the stages of the ritual scenes, are being made to fit the enormous stage out n Leavenworth, wit its 58-foot opening, and to truly present Arabic life on the desert as it is – or was when the Prophet was on earth. The asbestos curtain is simply enormous – it weighs half a ton. The picture runs through the entire width and height of the proscenium arch and shows the arrival of the caravan at the oasis at the hour of evening prayer. Over on the left is a low wall well and opposite it the followers of the Sheik appear to be busy in the formation of a camp while the chieftain of the tribe is kneeling on his prayer rug. In the distance appears the desert, with a glimpse of the pyramids showing through the haze. It is a splendid picture, and he wanted it without borders that usually are used to frame such a view – it stands out boldly for just what it is, an Arabic camp.

One cyclorama which must be all of 200 feet in length will encircle the stage, except across the front, while another complete stage setting includes a view of the sacred city from a minaret on the right. The tower has a balcony for the use of Muezzin, and on the opposite side are set pieces representing buildings along the street, with bazaars, etc.

The palace scene is made with set pieces, the drop at the rear being made to carry sliding doors. Through that opening the Potentate will make his entry.

The set pieces include tents, sphinxes, pyramids, palm and date trees, throne, and a whole mess of other things, and all so braced an arranged that they ‘stay put’ when required on stage, but can be quickly removed.

The Abdallah stuff really includes two complete sets of scenery, one for permanent use at the new Leavenworth mosque, and the other to be taken along when the temple visits other cities in the jurisdiction.

The scenery is to be loaded into a car and be delivered and place in the mosque not later than May 15, and from the amount of labor-saving machinery being used on the job, it will likely accomplish it.”

The Abdallah Temple was chartered March 28, 1887. In 1910 the Abdallah Shrine purchased the old Crawford Grand Opera House, originally erected in 1880. Located at the corner of Shawnee Street, south side, between fifth and sixth streets, it was extensively overhauled and became the well-known Shrine Temple until 1921. In 1921, a new Temple was erected on the lots just west of the original one. At a cost of approximately $200,000, the stage was an integral feature to the building with the new scenery from Universal Scenic Studio of St. Paul, Minnesota.

Postcard depicting the Abdallah Temple in Leavenworth, Kansas.

The Shrine was known as the playground of Freemasonry. After a Mason’s arduous study in the Blue Lodge (first three degrees of Freemasonry), he continued his study of the Craft in either the York Rite or Scottish Rite. This labor was a pre-requisite to joining the Shrine, although not any more. However, even in 1921 there was an option if men didn’t want to take the time or money to join the York or Scottish Rite that culminated in the Shrine; they joined a the Grotto. For those Masons not interested in the continued study in the Scottish Rite or York Rite, the Mystic Order of the Veiled Prophets of the Enchanted Realm (M.O.V.P.E.R. Grotto) was an option and considered the “poor man’s Shrine.” Back to Leavenworth and Abdallah Temple.

1921, Abdallah membership reached 4,500 with its jurisdiction extending over nineteen counties in the northeastern part of Kansas. At this time, Abdallah Shrine maintained a band and a patrol unit at Leavenworth, with ceremonials held several times during the year; Abdallah events drew in large numbers of men from Leavenworth and the surrounding districts. The Abdallah Shrine even owned the park southwest of the city, formerly known as the Leavenworth County Fair Association Park. The park included bathhouses, a dancing pavilion, racetrack and other places of amusement, a perfect gathering location for Masons and their families.

To be continued…

Tales from a Scenic Artist and Scholar. Part 750 – Indianapolis’ Murat Theatre, 1910

Murat Shrine Theatre postcard featured scenery by Sosman & Landis in 1910

In 1910, Thomas G. Moses wrote, “Closed with the Murat Theatre of Indianapolis for $4,000.00.” The equivalent purchasing power today is $107,599.16, a sizable scenery project for the time. The building was named after the Nubian desert oasis Bin Murat. Bin Murat was named after Napoleon’s general, Joachim Murat, during his Egyptian campaign; an interesting nod to past French Masonic heritage.

The Murat Shrine building was located at the corner of Massachusetts Avenue and New Jersey Street. The Shrine Theater opened on March 1. By March 3, 1910, “The Waterloo Press” included a lovely article on the new structure in an article entitled “New Murat Theatre Opens” (page 2). Here is the article in its entirety:

“The Murat Theatre contained in what is said to be the most elaborate Mystic Shrine temple in the United States, was opened at Indianapolis, Ind., under the management of the Schubert Theatrical Producing Company. The temple, completed, will cost $250,000 but only the theatre has been finished. James T. Powers and his company, in the musical comedy, “Havana,” gave the first performance in the theatre. Only the members of the Mystic Shrine were admitted but the subsequent performances will be public. The theatre is decorated with mural pictures representing camel caravans passing through a desert and approaching an oasis, and with other allegorical paintings symbolic of the significance of the Mystic Shrine.”

What is interesting about this theater is that the Shrine is using the stage for their ceremonials, but also leasing the house and generating a significant amount of income, a win-win situation. The Schuberts leased the theater from 1910 to 1930. In 1910 Sosman & Landis also provided stock scenery for the Schuberts’ newly acquired Great Northern Theatre in Chicago.

Photograph of the Murat Shrine building in Indianapolis, Indiana

The Murat Theatre was a Moorish-revival style structure, with the building featuring minarets, terra cotta trim, and brown and yellow banding. In 1922, the structure was expanded to include an Egyptian-themed auditorium. Interestingly, it was planned prior to the discovery of Tutankhamen’s tomb that same year. The 2,500-seat auditorium offered a secondary performance venue, to the original 1,800-seat concert hall. Between 1948 and 1963, the venue was primarily used by road shows. In 1963 it became the home for the Indianapolis Symphony Orchestra. In 1968, the building was expanded; the addition collapsed after a fire in 1988.

Over the years, the building was known as the Murat Shrine Temple, Murat Shrine Theatre, Murat Theatre, and Old National Centre. It is now called the Murat Theatre at Old National Centre, located at North and New Jersey Street in Indianapolis. Noted at the oldest stage house in downtown Indianapolis, it is still in use. There are currently nine areas for hosting events, including the Egyptian room, the Corinthian Hall, the Corinthian annex, the Corinthian meeting room, the Great Hall, the Imperial Lounge (formerly known as the “Crowne Room”) and various lobby areas.

In terms of the Fraternity, the Ancient and Arabic Order of the Nobles of the Mystic Shrine was organized in Indianapolis during 1882, receiving a charter on June 4, 1884. Regular meetings were held at the old Scottish Rite at the Townsley and Wiggens Pork House; a space that I have written extensively about in past posts (see installments # 199-201, and 237). As a side note, Henry C. Tryon was the scenic artist responsible for the earliest scenery in the Indianapolis Scottish Rite where the Murat Shrine initially met; Tryon was later on the staff at Sosman & Landis and an asset to their Masonic projects at the time.

By 1909, the Indianapolis Shrine began the construction of the Murat Temple. Considering the reputation garnered by Sosman & Landis in 1909 and their connection with Tryon, it is not surprisingly that they received the contract for the Murat stock scenery collection. In terms of the architecture, the William P. Jungclaus Company used the designs of Murat Shriner Oscar D. Bohlen.

The theater opened on February 28, 1910, with Murat nobles and ladies treated to opening night; this became a tradition while the Schuberts leased the building. The theater had a seating capacity of 1,950 (lower floor, 1155, balcony, 624, and boxes, 24). Located on the ground floor, the space was illuminated with electricity (110-220 D.C., 1,500 Amp.). The proscenium opening measured 40×36 ft. with a depth of 40 ft. from the footlights to the back wall. There were 91 feet between the side walls and a 3 ft. apron. It was 76 ft. from the stage to rigging loft and 31 ft. from the stage to fly gallery. The Cahn-Leighton Official Theatrical Guide for 1912-1913 Season listed the theater as the “Schubert-Murat Theatre” managed by Fred J. Daily.

Here is an interesting link to the Murat Shrine: https://www.muratshrine.org/PP_history.php

To be continued…

Tales from a Scenic Artist and Scholar. Part 458 – William F. Hamilton and the Shrine Circus

Part 458: William F. Hamilton and the Shrine Circus

By 1921, Thomas G. Moses’ former business partner, Will Hamilton, was living in San Francisco, California. Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s and remained their for over two decades. Like many scenic artists, he worked all over the country on a variety of projects. He would later relocate to San Francisco where one of his more interesting projects would involve the Oakland Shrine circus. In the publication “Variety,” there was an article titled, “Hamilton’s Special Events” where he was credited with creating “an abundance for special scenery” for the Shrine (Vol. IXIV, No. 11. Nov. 4, 1921).

Notice the painted scenery for the Midian Shrine Circus in Wichita, Kansas, 1923.

The following year, “The Oakland Tribune” included the article “Hamilton Praised.” It reported that Hamilton was again the director for the Oakland Shrine Circus. He was working on the project with stage managers Captain E. J. Parish and Clarence E. Head; chairman of the entertainment committee Lawrence E. Lund; and Potentate Thomas W. Norris (28 April 1922, page 15). The article reported, “W. F. Hamilton, the director, is given credit for his achievement by members of the Shrine.” In 1923 Hamilton was still the director for the Shrine Circus, and once again in charge of the “special preparations” (Oakland Tribune 13 April 1923, page).

I have often been asked to explain the Ancient Arabic Order of the Nobles of the Mystic Shrine. I typically respond that after a Mason is introduced to Freemasonry in a Blue Lodge, he continues his education in either the Scottish Rite or York Rite, thus making him eligible to join the Shrine. The Shrine was a place to “relax” after all of the “hard labor” of learning the “Craft.” Today, Masons can skip the step of “learning” in the Scottish Rite and York Rite, immediately jettisoning into the Shrine. I have very mixed feelings about this; understanding the need to retain membership numbers, yet abandoning the “work” aspect before the reward of “play.”

As I was looking at Shrine circus programs, I came across a very concise history of the organization in a 1950 issue. It supplied the usual historical background pertaining to the origin of the Shrine. It explained that the Shrine “has for its allegorical background an order instituted by Kalif Alee, a Mohammedan. The order was to further civilization and law and also to promote religious tolerance among cultured men of all beliefs and nations.” The article further explained that William “Billy” J. Florence, a well-traveled actor, was initiated into an Order on one of his tours and the ceremony prompted him to establish an order in America. He wanted to establish “a place where a select group of men could commune and relax and enjoy good fellowship.” Dr. Walter M. Fleming wrote the ritual in collaboration with Florence for this new Masonic organization. Initially membership was limited to Scottish Rite Masons and Knights Templar, with the first meeting being held on June 16, 1871 in a the Masonic Hall, located on East Twenty-third Street in New York City. They formally organized a “Temple of the Nobles of the Mystic Shrine” which they named their “Mecca Temple, the Mother Temple of the Mystic Shrine.” An Imperial Council was later created in 1876, with Fleming becoming the first Imperial Potentate from 1876 to 1886.

*This image is from “The Circus Blog: Generation of Family Circus Traditions” posted by Ivan M. Henry (fifth-generation circus family). Here is the link to his blog: http://www.thecircusblog.com/*

The 1950 Shrine Circus program also included a section on “The Purpose of the Shrine.” This may help others understand the organization a bit more. Here it is in its entirety:

“The Ancient Arabic Order of the Nobles of the Mystic Shrine has for its mission the union of the York and Scottish Rite of Freemasonry. Here Masons from both Rites meet on a common level or playground; but it is not a playground merely – it teaches by its tenets and obligations some of the highest ideals of life.

It’s teachings carry a dignified mien that lifts the Masons above the sordid transitory things of life. It transports the mental and spiritual Mason away from the turmoil and strife of earthly things and atunes his spiritual being in harmony with the universe and the music of the spheres. It gives him a glimpse of the great white light of life and Masonry here and hereafter. It teaches some the grandest lessons given for the guidance of a man along life’s journey that he who has listening ears and seeing eyes may learn the great truths taught by speculative Masonry. It does not teach, and in fact, it frowns upon any and all things that should not characterize a gentleman, a man or a Mason. No rough or uncouth act has a place on its program, and any overt act not in keeping with the teachings and spirit of Masonry does violence to its obligation and reflects discredit upon the spirit of the Order, but more directly upon the doer thereof.

The Mystic Shrine embraces all creeds that recognize and acknowledge Deity as supreme. It has for its prime mission unfoldment and evolution. It works begin in the human heart and mind in the morning of creation. It gives a new impetus at the altar, giving the individual a higher concept of life and its duties toward self, home, country, and last but not least toward the higher part or principle in the human heart that elevates man above the beast of the field and makes him a little lower than the angels.”

*Detail of a caricature depicting Shrine activities. Print was listed in a recent online auction.*

It can be a wonderful organization with fun-loving men, but there have always been those few members who took it a step too far; the fun and games turned malicious. In certain areas the initiations, as well as the running of the organization, fell under the shadow of a dark cloud. Once, while restoring a drop in Virginia, a few Masons explained that part of their Shrine initiation involved being chased through the streets of Richmond with cattle prods. In Oklahoma, another Mason showed me an early “Shrine Strength-testing Machine.” The device was used for “playful harm.” Each initiate was told they were going to measure his physical strength. When they squeezed the handles of the machine, it triggered a board to raise up and hit the Mason square between his legs. There are many more stories that have been shared with me over the years that I am choosing not to include, as they all cast an unkind light on the organization as a whole.

However, when we ponder why some high school and fraternity hazing ceremonies result in harm, or even death, we just need to look at our own past. A fun initiation can suddenly take a wrong turn, resulting in injury; much depends on the leadership. Sometimes a bully dominates the playground.

To be continued…