The Rex Theater pictured on Washington St. in Iowa Falls, Iowa.
In 1914, Thomas G. Moses wrote,
“Several hustle up jobs came our way.
Flint, Michigan, Muscatine, Iowa, Geo. Dameral, Kansas City, Mo. And
several drops for the Kedzie Avenue Theatre.” The majority of projects that
passed through the Sosman & Landis studio each month will never be
known. I use Moses’ typed manuscript as
a guide, supplementing his entries with newspaper articles.
One project not mentioned by Moses during 1914 was scenery for
the Rex Theatre in Iowa Falls, Iowa. The Rex was a theater “devoted to moving
pictures.” A small snapshot in time, in 1914 new movie theaters were still
purchasing painted settings as a “frame” for the projection screen. This setting established a unique atmosphere
that bridged the gap between the old and the new.
Here is the article: published in the “Evening
Times-Republican” on 28 July 1914, (Marshalltown, Iowa, page 5):
“NEW THEATRE COMPLETED.
Fine Modern Picture House to Be Opened at Iowa Falls Soon.
Iowa Falls, July 26 – About Aug. 15, one of the finest
theaters in Iowa devoted to moving pictures will be opened in this city by
Middleton & Gephart. The new house s now in the hands of the finishers and
the seating is being put in place this week. This new theater is modern in
every detail. Architectural, it is a gem and reflects much credit on the men
who are back of the improvement. It will seat 350 people and has a stage
equipped with Sosman & Landis scenery and a fine plate glass mirror screen.
The interior decorations are in the best of taste and the front of the building
makes a fine improvement to the business district. The theater will be known as
the Rex and a large electric sign in front of the building heralds its location
to the public. The lobby is most attractive and the best of equipment has been
installed for the projection of pictures. A fine electric piano has been
installed to furnish music for the place. The second floor of the building is
being finished off as flat.”
Detroit’s Palace Theatre, designed by C. H. Crane.Detroit’s Palace Theatre, built in 1914.
On February 15, 1914, the “Detroit Free Press,” reported
that Sosman & Landis delivered the scenery for the New Palace Theater. The
firm, under the direction of Thomas G. Moses, also delivered stock scenery to other Palace
theatres in Chicago (1912), Minneapolis
(1914), and Fort Wayne, Indiana (1914).
The “Detroit Free Press” announced, “Scenery is the Best.
The scenery is from the Sosman & Landis studio of Chicago, leaders in the
art, and for particular reasons the work is extraordinary. It is impossible to
produce more attractive scenery during the composition and painting in Chicago
many managers viewed it with not a little envy, as it is the last significance
of the word ‘Palace’ will be seen very readily by those who attend. The seats
are wide enough to be comfortable and are far apart. Every seat in the house
affords a perfect view of the entire stage.”
Detroit’s Palace Theatre was located at 130-132 Monroe
St, and advertised as “absolutely fireproof.” The article described all of the
fire safety measures, including a roof that consisted of six-inch concrete.
Interior of the theater. Notice the small section of painted drop curtain by Sosman & Landis in left fo the picture. From “American Architect and Architecture,” Vol. 106, 1914. From “American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.
C. A. and Graham Hoffman were responsible for the venue
and selected Detroit for their new playhouse. Early in the spring of 1912, they
started securing lease on the property in the “Great White Way” district of
Detroit. The Palace Theater Co. was organized and incorporated on April 5. C.
A. Hoffman was the general manager, with Graham acting as assistant manager and
secretary.
Detroit’s Palace Theatre was designed by C. Howard Crane and later featured in “American Architect and Architecture,” Vol. 106, September 1914. Crane also designed Detroit’s Liberty Theatre, Opera House, Filmore, Fox Theatre, and the Detroit Symphony Orchestra’s Orchestra Hall.
“American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.“American Architect and Architecture,” Vol. 106, 1914.
Advertisement lobbying Congressmen to vote for the Panama-Pacific International Exposition to the held in San Francisco in 1915.
World Fair exhibits and midway amusements were a staple
for many scenic studios; these projects brought in big money. Sosman &
Landis created elaborate displays to illustrate a variety of features and products
at world fairs that ranged from miniature electric theaters to Indiana health
resorts. These projects also provided an opportunity for scenic studios to
produce massive panoramas and outdoor exhibits that exceeded any stage show,
advertising their services on a grand scale. Some displays were extended beyond
the fair dates. In 1894, many exhibits from Chicago’s 1893 Columbian Exposition
were transported to the West Coast for California’s Midwinter Exposition.
The Panama-Pacific International Exposition, 1915.The Panama-Pacific International Exposition, 1915.
The Panama-Pacific International Exposition was held in San
Francisco, California, from Feb. 20, 1915 to December 4, 1915. The vast fair stretched
along 2 ½ miles of the Pacific Ocean. The theme was to commemorate the
completion of the Panama Canal, but is also provided California with an
opportunity to share their recovery from the 1906 San Francisco earthquake and
fire. Almost 80% of the city had been destroyed, but had recovered and rebuilt itself
from the ashes. San Francisco also built a second city for the exposition, named
the City of Jewels. Harbor View was selected and nearly a hundred earthquake
shacks housing low-income residents were evicted to make way for the
fairground. The homes were condemned by the Department of Health, all helping
fair organizers plan for the event and clear the necessary space. Significant
landscape changes occurred, including filling in waterfront marshland.
The Panama-Pacific International Exposition, 1915.
One of the fair highlights was a functional, five-acre scale
model of the Panama Canal. A painted surround for the attraction depicted the
whole canal-zone for thousands of miles. Visitors traveled around and listened
to a lecture of the Panama Canal little phone headsets. Below the ride, miniature
ships moved with electric mules towing them through small locks of real water.
18 million people visited the fair in 1915. Travel and
communications were two popular subjects at this event. A telephone line was
also established in New York City so that people across the continent could
hear the Pacific Ocean. It was the first world’s fair to demonstrate a
continental call. Railroad companies were big investors, featuring
coast-to-coast travel and vacation destinations. They used the event to promote
National Parks; with each railroad building massive exhibits that showcased the
parks they serviced. Both the Union Pacific and Atchison, Topeka & Santa Fe
built elaborate exhibits promoting scenic treasures. The AT&SF Topeka created
a Grand Canyon exhibit spread out over five acres. Walter W. Burridge, close
friend of Thomas G. Moses, designed a series of 100’ paintings depicting scenic
marvels of the Grand Canyon for the exhibit. Although Burridge passed away mid
project, Edgar Payne was later commissioned by the Santa Fe Railroad to provide
the paintings of the southwest. It was this Panama-Pacific exhibit that greatly
helped the Grand Canyon becoming a national park by 1919.
The Union Pacific’s exhibit of Yellowstone Park at the Panama-Pacific International Exposition, 1915.An aerial view of the Union Pacific’s exhibit at the Panama-Pacific International Exposition, 1915. It was located in the Joy Zone of the Fair.Map of the Zone at the Panama-Pacific International Exposition, 1915.The entrance to the Grand Canyon exhibit in the Zone at the Panama-Pacific International Exposition, 1915.
Similarly, the Union Pacific built a massive four and-a-half
acre replica of Yellowstone National Park, complete with working geysers spewing
boiling water. There was a model of Old Faithful at the Old Faithful Inn, a
venue that included a dining hall and auditorium. The Canadian Pacific’s
Huntington was also on display at the fair, a feature contributed by the
Southern Pacific Railroad.
A postcard of the Zone at the Panama-Pacific International Exposition, 1915.
The Grand Canyon attraction was in an amusement in the area called “The Joy Zone” at the fair. In the Zoe, concessions, exhibits and rides were gathered, with a price estimate of $3,500,000. That is today’s equivalent of over $89,000,000. It was the largest amusement park constructed at the time. Here is a great link to the Zone: https://www.nps.gov/goga/learn/historyculture/ppie-thezone.htm
The Peoples Easy Guide the the Panama-Pacific International Exposition, 1915.
The guide sold for 10 cents and included a description of
the various buildings and contents, a map of the exposition that indicates the
best route to follow, illustrations of the principle buildings, and a complete
description of attractions on the Zone.
In the end, the Zone was a financial failure, and many
exhibitors were replaced mid-event.
Without the support of wealthy corporate funders, such as the railways,
many of the “living exhibits” failed. Both humans and animals from different
countries were put on display for fair visitors to gawk at during the day, but
these exhibits did not necessarily result in the necessary funding. Various
groups struggled to remain open, with not all succeeding; the Samoans and
Somalis were two of the groups returned home. Then as now, racism reared its
ugly head in a variety of ways, demeaning those from different cultures. The
Somalis were forcefully deported.
The Panama-Pacific International Exposition, 1915.Novagems covered the Tower of Jewels at the Panama-Pacific International Exposition, 1915.The iconic Tower of Jewels at the Panama-Pacific International Exposition, 1915.The Panama-Pacific International Exposition fairgrounds at night, 1915.
The 435-feet high Tower of Jewels was the main
architectural feature, covered with over 100,000 cut glass Novagems; jewels of
Bavarian glass backed with mirrors. These ¾-inch to 2inch colored gems sparkled
in the sunlight and marveled spectators, similar to what previous towers of
electricity had accomplished at previous word fairs. This supported the name of
“The Jewel City. “As with many world fairs, the millions of dollars spent on
constructing an elaborate city of impressive building was only temporary. Most were torn down at the conclusion of the
fair. The Palace of Fine Arts is the only building that has survived until
today.
Other fair highlights included a playground for the
children called Toyland. Even the Liberty bell, was brought from Philadelphia on
a special flat car to the fair, complete with a grand procession. Stunt pilots
did tricks over San Francisco Bay throughout the duration of the fair. The
airplane was still the big thrill, but the pilot Beachey crashed and dies in
San Francisco Bay. After honoring him in a public funeral, another pilot named
Art Smith took his place. Smith flew both day and night. Under starlit skies,
his attached flares to his plane and created a light show for evening visitors.
Stunt pilot Beachey flying over the Panama-Pacific International Exposition, 1915. He was replaced with Art Smith after his tragic crash.
Millions of people spent an enchanted summer in the City
of Jewels, but it was really the end of an innocent era. The shadow of WWI fell over the City of Jewels
and diminished some of its brilliance. Although the fair opened in February, by
May the sinking of the RMS Lusitania by a German U-boat. This prompted many individuals
to call for the closure of the fair. Nevertheless, the event continued despite
increased hostilities in Europe. In the end, thirty elegant pavilions represented
various countries, all lined up on the fair’s avenues, despite the
deterioration of international relationships. The closing ceremonies included
the lowering of the flag from the Tower of Jewels. Lights thrown on clouds of
steam were gradually extinguished and the magic ended.
The scope
of this event is really hard to imagine until you see film footage or
photographs. Here is wonderful 23-minute film of the 1915 Fair if you want to
step back in time: https://www.youtube.com/watch?v=OGXSkTOnw-A
In 1914,
Thomas G. Moses wrote, “Minneapolis Vaudeville Theatre kept us busy for
some time. Our competitors in
Minneapolis were very much disturbed over our coming into their town.”
Moses was referring to Minneapolis’ New Palace Theater and
the Twin City Scenic Co. This is not to be confused with the Palace Theatre of
St. Paul that opened two years later.
Sosman & Landis advertisement about the New Palace Theater in Minneapolis, Minnesota. Published in the “Star Tribune,” Oct 4, 1914, page 25.Detail of Sosman & Landis advertisement published in the “Star Tribune,” Oct 4, 1914, page 25.Minneapolis’ New Palace Theater in 1914. From the “Star Tribune,” Oct 30, 1914, page 41.
The New Palace Theater opened its doors to the public on Monday, October 5, 1914. It was advertised as “the most beautiful and best equipped playhouse in this city of good theaters” (Star Tribune, 9 Sept. 1914, page 14). There were many Minneapolis companies involved in the project, but Sosman & Landis installed the scenery and stage fittings. Likewise, the architects and decorative painting firm were also Chicago companies. Of the new building, local newspapers published, “The New Palace Theater was designed and executed by one of the greatest architects in Chicago, and its cost upon completion will be very nearly $600,000. With a seating capacity of 2,400 and with three performances daily, this structure can take care of 7,200 people every twenty-four hours” (Star Tribune, 30 Aug 1914, page 41).
From the “Star Tribune,” 1 Oct, 1914, page 5.
The “Star Tribune” reported, “Residents of Minneapolis will recall the farmstead of Elder Stewart, which for half a century, from its oasis-like vantage point, defied the encroachments of public improvements as the city grew from a mere village to its present greatness. Those who have left Minneapolis and come back may well rub their eyes. No longer the hillock of oak trees; no longer the straggling white farmhouse with its green blinds and shabby paint. Lo! The transition is complete – the environment almost magically changed – as though Aladdin returned with his wonderful lamp” (30 August 1914, page 41).
The “Star Tribune” noted, “Messrs. Reuben and Finklestein
with the assistance of various advisors, have been working continually for a
year to contrive new conveniences and better attractions for the greater
delectation of patrons. ‘We are satisfied,’ declared both Mr. Ruben and Mr.
Finklestein when they viewed the other day the completion of the ideal they had
set a year before. No less than a realization of every detail in the standard
set could have brought this declaration from them (Star Tribune, 1 Oct. 1914,
page 5). Ticket prices placed 1,500 seats at ten cents and the remainder at 20
cents
The theater was described as “a building of Venetian red
brick, massive, palatial – a building of stately lines, of carving and
casements, fashioned for the entertainment of men and women.”
The second floor of the building included a room with beds
for “little tots,” where mothers could place their tired children in the care
of trained nurses. Adjoining the napping
room was a playroom for babies and children, furnished with swings, rocking
horses and sand piles (the sand surprised me). In December the New Palace
Theater selected a special program for both regular patrons and the “kiddies.”
Mlle. Teschow’s trained cats were especially engaged as entertainment for the
little ones. The “Star Tribune” reported, “The act is said to be as interesting
as it is novel, and many of the stunts these tabby cats performed will no doubt
be tried by many of the tots on the ‘home taby.’ (14 Dec 1914, page 43).
From the “Star Tribune,” Sept 9, 1914, page 14.
For the gentlemen folk, there was a “den” for men, a smoking
room with fireplace where men could comfortably lounge in leather chairs and
settees. Far cry from children playing with sand and being entertained with
Mlle. Teschow and her trained cats. I
could not locate any information about a ladies lounge or gathering area. The
fire safety methods, however, were described in detail. The fire exit
arrangement assured that no audience member would be more than twenty-five feet
from an exit while watching a show.
From the “Star Tribune,” Oct 13, 1914, page 9.
To conclude, there was an interesting article that appeared
in the “Star Tribune” on August 26, 1914 noting the future programming:
“Ruben and Finklestein returned Monday morning from a trip
East, where they went to perfect the bookings for the New Place theater…It is
necessary almost to say that they were very successful in their undertaking,
for the country-wide reputation that this New Palace theater has already
acquired has made it a comparatively easy matter to contract for the very best
shows that the world produces. Minneapolis people will be delighted to hear
that among the special headliners will be the favorite Grace Cameron. This
announcement, however, is only made to give insight into the high-grade class
of talent that this house has procured. The fame of the name, ‘the New Palace
theater,’ had gone ahead of them, and although Mr. Ruben feels very much elated
over the success that is bound to come to this theater, he felt that his
Eastern colleagues did not quite have the right idea of what a magnificent
playhouse this really was. To cinch all doubt in the question, special trains
have been chartered to bring up the big moguls of the theatrical fraternity to
Minneapolis on the opening night, for, as Mr. Ruben says, ‘You can tell a
fellow almost anything, but to make him believe it you have got to show him”
(page 4).
In 1914 Sosman & Landis created scenery for the Ringling
Bros. grand circus spectacle “Solomon and the Queen of Sheba.” Over a decade
earlier, the John Robinson circus also included “King Solomon and the Queen of
Sheba” at a circus spectacle. It
provided a rich and popular subject for a variety of nineteenth-century and
twentieth century entertainment venues.
King Solomon and the Queen of Sheba circus spectacle advertised in the “Wichita Beacon,” 18 Aug 1900, page 5.John F. Robinson and his circus spectacle “King Solomon and the Queen of Sheba” from the “Knoxville Sentinel,” Oct 15, 1903.
The King Solomon story was also staged for Ancient and
Accepted Scottish Rite of Freemasonry degree productions at this time. Masonic designs included a variety of settings
from King Solomon’s reign, including the Temple, Sanctum Sanctorum, his private
apartments, audience chambers, and the throne room. The story of the construction of King
Solomon’s Temple was a subject dramatically presented in both Blue Lodge rooms
and on Scottish Rite stages as part of their ceremonials. The construction of the Temple and the
assassination of its chief architect Hiram, are a prominent topic in Masonic
degree work. This story dramatically presented in lodge rooms was theatrically
staged for Scottish Rite degree work. Never exclusive to the Fraternity,
the reign of King Solomon was a popular subject for a variety of visual
spectacles throughout the nineteenth century.
King Solomon degree setting for Scottish Rite degree work by Sosman & Landis Scene Painting Studio, ca. 1904.
In past posts, I
have covered the subject of King Solomon on both public and private stages,
including two 1840s touring show that featured “Chemical Paintings,” also known
as “Magic Pictures.” These were small painted backdrops that transitioned from
day to night as the composition was alternatively lit from both the front and
back (see past installment #320). Newspapers at the time reported, “by modifying the light upon the picture, exhibits two
entirely distinct representations upon the same canvas” (The Times-Picayune, 20
Dec. 1842, page 3). The “Inauguration of
Solomon’s Temple” was one of four scenes that toured with the show.
Here is the 1842 description of “The Inauguration of Solomon’s Temple”
as published in “The Times-Picayune:”
“This painting represents the
magnificent Temple of Solomon, son of David, which he caused to be erected in
Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and
elegance of its exterior architecture. The same Painting soon after passes
through all the modifications of light: then night comes on, (effects obtained
by the decomposition of light, a new process of painting invented by Daguerre,)
the Temple appears illuminated interiorly by degrees, reflecting a bright light
exteriorly, which discovers a great multitude of people flocking to adore the
Ark of the Covenant, which the High Priest has deposited in the Tabernacle”
(New Orleans, December 29, 1842, page 3).
Any Mason who attended
the 1842 exhibit might leave full of ideas that could make the degree work in
my small lodge room better. The scenic effects exhibited at the end of a
darkened room suggested the possibilities for dramatic effects during degree
work. By the 1850s, the first Scottish Rite stages began to appear, with
painted settings and costumed figures under stage lights. Fast-forward a few
decades.
In 1891, a King
Solomon spectacle was a feature for the Piedmont Exposition in Atlanta, with nightly
performances from Tuesday until Saturday (Atlanta Constitution, 19 Oct 1891, page 6). Although
met with some controversy from the conservative Christian faction of the time,
a series of rebuttals supported the productions. It was a popular production.
By 1899, the King Solomon story was picked up by the John Robinson Circus.
Newspapers in 1900 announced “a magnificence of a scenic
spectacle of Solomon and Queen of Sheba” produced by the John Robinson Circus
(Marshall County Independent, Plymouth, Indiana, 25 May 1900, page 8). It was one of ten big shows that toured with
his circus Advertised as the oldest circus on the road in 1824; by 1900 the
third generation of John Robinson descendants advertised it as the Robinson
Show (Fort Scott Weekly, 9 Aug. 1900, page 8). The John Robinson Circus was one
of the oldest running family circuses in the United States. The four
generations that managed the circus were John Robinson I (1807 – 1888), John
F. Robinson II (1843 – 1921), John G. Robinson III (1872 – 1935) and
John G. Robinson IV (1893 – 1954). Here is a link to the circus’ history as it
is quite fascinating: http://www.circusesandsideshows.com/circuses/johnrobinsoncircus.html
Three of the four Robinsons who would run the Robinson Circus.
John Robinson
Circus advertisements promised, “Nothing Old But the Name” and the “Wichita
Daily Eagle” reported, “The most interesting feature in the performance that
the Robinson show has is the spectacular production of King Solomon, which was
especially beautiful under the dazzling lights in the evening. This part of the
show is gorgeously staged and in effect if like the great spectacle production
in America of 1893. Triumphal marches, to the music of trumpets, and an
acceptionally [sic.] good band, fifty or more girls attired in oriental
costume, a hundred on horses representing various clans and allies, correctly
costumes true to history, and later ballet and dancers, the story in pantomime
of the judgment of King Solomon on the parable of the babe claimed by two
women, and closing with the visit of the queen of Sheba, were all produced in
magnificent manner. The regular circus performance which followed contained
some old features always seen, but it also contained many new features and
original idea which makes the show more interesting than the simple old
fashioned circus” (Wichita Beacon, 18
Aug. 1900, page 5).
Advertisement for the John Robinson’s circus “King Solomon and the Queen of Sheba,” form From the “Ottawa Herald,” 5 Aug. 1900, page 5.
In 1900,
Robinsons Circus advertisements noted that the production included 1,000 men
and women, 500 horses, elephants, camels and 100 ballet dancers, transported
across the country in several trains of cars.
Furthermore, $2,000,000 was purportedly invested in the show. There were
“20,000 seats for 20,000 people under an absolutely water-proof canvas,” “40
camels hitched to a $20,000 Golden Chariot,” and “Forty Soul Stirring,
Fearless, Madly Ridden Hippodrome Races, Forty” (Wichita Beacon, 18 Aug. 1900,
page 5).
John Robinson Circus advertisement from the “Kingman Journal,” 10 Aug. 1900, page 6
By 1902, the
“Knoxville Sentinel” advertised the Robinson Circus, reporting, “The Bible
contains within its covers no pages so attractive in interest, so impressive in
description, so reverential and so expressive of divine devotion, so rand in
developments, as those which relate to King Solomon and his reign. It was a felicitous
thought, then of the celebrated artist, John Rettig, that led him to
contemplate the reign of Solomon as the subject for a spectacle, and to select
that period of Solomon’s administration when the king is visited by the Queen
of Sheba, as the theme for his grand and all overshadowing masterpiece of vast
spectacular presentations (15 Oct. 1902, page 2). A year later, the “Courier
Journal” added, “It was a wise thought of the celebrated artist John Rettig,
that led him to take the reign of Solomon as the subject for a spectacle” (23
April 1903, page 4). The Robinson Circus show was designed by Cincinnati scenic
artist John Rettig and directed by Charles Constantine. Rettig (1858-1932) was
a friend of Thomas G. Moses and the two traveled in the same circles.
John Rettig, scenic artist and design for the John Robinson Circus spectacle, “King Solomon and the Queen of Sheba.” From his obituary notice, May 2, 1932, page 2.
“The Oswego
Independent” published, “The ‘Queen of Sheba’ was a sight to behold, Arrayed in
circus tinsel, with cheap finery and frippery, supposed to represent the
original in her journey to view the wonders and glories of King Solomon, she
was a sight never to be forgotten, and was a libel on the original, as word
painted in the scriptures” (Oswego, Kansas, 31 August 1900, page 3). The
“Newton Kansan” added, “The spectacular representation of scenes in connection
with the lives of King Solomon and the Queen of Sheba was a novel feature and
was one of the best things in the show, but would be vastly improved if
shortened as it becomes tiresome” (17 Aug, 1900, page 1). Most reviews,
however, were pleased with the presentation. The “McPherson Weekly Republican,”
commented, “The presentation of King Solomon’s court, the temple and the
amusements of the ancient Hebrew court were a big surprise in excellence and
would have done credit to a large opera house performance” (24 Aug. 1900, page
7).
Of the
production, an advertisement in the “Wichita Daily Beacon” stated, “King Solomon
and Queen of Sheba. Dwarfing and overshadowing to comparative insignificance
interior and out door spectacular events of the era. Replete in sacred
realisms, historical accuracies, Biblical events, colossal processions, and
introducing all the ceremonies with the original pomp and splendor of the Court
of Solomon.” In 1929, the John Robinson Circus was still featuring “King
Solomon and the Queen of Sheba.”
1929 photograph of the John Robinson Circus for sale online. Note the costumes for the King Solomon circus spectacle.1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/Detail of 1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/ item/10696/view/1/1/
By 1914, spectacles
depicting King Solomon’s life were still a popular to many, including the thousands
of men who continued to tell the story in Masonic ceremonials. The Ringling
Brothers’ spectacle of “King Solomon,” however, was produced on a much grander
scale than any other circuses or fraternity. The Masonic settings at Scottish
Rite theaters paled in comparison with the grand spectacle at the circus, yet
the same scenic artists were painting the sets for each venue.
Thomas G. Moses designed the scenery for the Ringling Brothers grand circus spectacle, “King Solomon and the Queen of Sheba.” Sosman & Landis delivered the scenery for the production in 1914.
In 1914, Thomas G. Moses wrote,
“Jan. 6th, went to Baraboo, Wisconsin, to see the Ringling’s for the
new spectacle, ‘King Solomon.’ Another big show. Made a model for one scene and
got $2,900.00.” Moses was referring to the 1914 Ringling production “Solomon
and the Queen of Sheba” that toured throughout the United States. Later in
1914, Moses wrote, “Ringlings’ work came out very good. Everyone was pleased and that is saying a
good deal.”
I have mentioned this grand
circus spectacle, or spec, in the past, but it is worth repeating. It provides
an additional layer of context for the painted tradition preserved in Scottish
Rite theaters.
“King Solomon and the Queen of
Sheba” was presented in a series of dramatic pantomimic pictures staged with
“all the lavish splendor and opulence that marked the period when the wise
Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in
Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba” (Star
Gazette, Elmira, NY, 21 May 1914, page 3).
The Star Gazette reported, “The spectacle is presented on an enormous,
specially constructed stage, which occupies nearly one entire side of the main
tent. The tent measures 560 by 320 feet
and seats 14,000 people at a performance” (21 May 1914, page 3). Remember that
two shows were given daily; one at 2pm and one at 8PM, and the doors opened an
hour before show time, allowing spectators to visit the 108 cages in the
Ringling zoo and purchase candy and souvenirs!
In 1914, the “Indianapolis Star”
reported, “Nero has watched his Rome burn to a cinder beneath a circus tent.
Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatra
has taken her last look at Egypt before the clown’s entry. And now the wise King Solomon and the Queen
of Sheba have been made the hero and heroine of the circus spectacle,
surrounded with all the gorgeous pageantry and lavish costumes a showman can
devise” (4 May 1914, page 3).
Thomas G. Moses designed the scenery for the Ringling Brothers grand spectacle, Solomon and the Queen of Sheba” in 1914.
On May 21, 1914, the “Star
Gazette” reported:
“Nearly half of the entire train
section is used to transport the scenery and costumes used in the massive
spectacle, ‘Solomon and the Queen of Sheba.’ The spectacle includes a cast of
more than 1,250 characters and a ballet of 300 dancing girls under the personal
direction of Ottokar Bartik, ballet master of the Metropolitan Opera House, New
York, and late of La Scala, Milan. The
music for this spectacle has been written by Faltis Effendi, formerly
bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90
musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a
cathedral pipe organ, costing $100,000.
The Ringling Brothers’ have expended $1,000,000 in the production of
this mammoth spectacle which faithfully and accurately portrays the pomp and
ceremony, life and wisdom of a period a thousand years before Christ, and
introduces Solomon in all his glory and Balkis, Queen of Sheba, the most
interesting woman of her day” (Star Gazette, Elmira, NY, 21 May 1914, page 3).
From the “Reading Times,” 16 May 1914, page 9.From the “Pittsburg Press”, 5 May 1914, page 16.
The US Inflation Calculator
measures the buying power of $1,000,000 in 1914 to be the equivalent of
$25,200,600.00 in 2018. Fifty men were needed to handle scenery and special
effects (Dayton Daily News, 26 April 1914, page 31).
When the circus arrived in
Elmira, New York during 1914, the “Star Gazette” included a large article about
the early morning arrival and events, advertising:
“The big circus is almost
here. Tomorrow morning in the small
hours just before dawn, four long red and yellow trains, made up of 86 cars
will roll quietly into Elmira coming from Binghamton, over Lackawanna
railroad. They will be unloaded
immediately and within a few hours the big aggregations of world wonders which
comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered
under twenty acres of white canvas on the show grounds.”
From the “Sheboygen Press,” 7 July 1914, page 1.From the “Sheboygen Press,” 7 July 1914, page 1.
The circus included an elaborate
parade that traversed the principal streets of each town on the morning of
their arrival. The “Star Gazette”
announced, “The cavalcade which, it is promised, will be the longest and most
gorgeous display ever seen in the streets of this city, will start from the
show grounds promptly at 10 o’clock. It
will be more than three miles in length and will include all the performers and
animals, in addition to the long procession of handsome tableau wagons and
allegorical cars, filled with pretty dancing girls in gay costumes. Six bands and two calliopes will furnish the
music for the cavalcade and the fifty famous Ringling clowns will be on hand to
keep the sidewalk spectators in good humor.
A striking feature of the procession will be the long line of elephants,
forty in all, and a team of sixteen camels, broken to bit and harness driven the
same as horses. These beasts draw a huge parade wagon and this is the first
instance on record where the ‘ship of the desert’ has ever been successfully
broken to harness and bit.”
The “twenty-four hour man”
arrived a day ahead of the circus to set up the infrastructure needed to feed
an enormous amount of people and animals. Other circus staff that arrived a day
early included “a number of stage and electrical experts who precede the show
to make arrangements for the staging and lighting of the big spectacle “Solomon
and the Queen of Sheba.” It is important to remember that the King Solomon
spectacle was just one of the principal features for the Ringling Brothers’
program that season; it was not the whole show.
This makes theatrical touring shows, such as “Ben-Hur,” seem like
child’s play when compared with the logistics of a touring circus with
thousands of moving parts.
The first train to arrive was
the commissary department and the first tent to be pitched on the show grounds
was the “cook house.” The second and
third trains pulled the heavy red wagons, loaded with canvases, properties, the
elephants, the 730 horses and the other animals. On the last train, composed entirely of
sleeping cars, arrived all of the performers and ancillary staff members for
the show.
The Queen of Sheba was played by
Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French
teacher of pantomimic art.
From the “Indianapolis Star,” 4 May 1914 page 3.
One of the things that I keep thinking about is the
logistics of organizing and managing a touring circus a century ago, especially
the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The
Pittsburgh Press published an article that provides insight into the 1914
circus (11 May 1914, page 14):
“The big enterprise bearing the name of the five brother
showmen arrived in Pittsburgh in the small hours of Sunday morning and with
very little noise and no confusion an enormous tented city was quickly
established on the show grounds in East Liberty. The show came from Wheeling, W. Va., where it
exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad
by a vast horde of excited youngsters who had braved both the displeasure of
parents and Sunday school teachers in order to be on hand to help unload the
elephants and lead the spotted ponies to water.
All day yesterday they loitered around the East Liberty grounds watching
the erecting of the tents and other unusual sights.
Twenty-four tents are required this season. The main canvas – the big top is the largest
the Ringlings have ever used – is especially constructed, not only to
accommodate the circus with its three rings, stages and hippodrome track, but
also arranged for the massive spectacle ‘Solomon and the Queen of Sheba,’ which
is presented on a stage five the size of that found in the largest theater. The
Ringling circus is a perfect city in itself traveling every night, making a new
city every day and morning with more system, rapidity and less fuss and noise
than any branch of the army. To prepare
for its coming exactly 106 representatives, each with a various mission to
perform, have visited this city.
All of the cooking for this enormous enterprise is done
by steam and in ranges built in a wagon weighing six tons and drawn by eight
horses. As a mere detail of the
marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs,
800 pounds of bread, 150 pounds of sugar and other items equally as large. The first order to the cooks in the morning
is for 5,200 griddle cakes and yet, as large a number as this may seem, it is
only four a piece. For the stock and animal department there are used daily: 10
tons of hay, five tons of straw, 300 bushels of oats, while no well behaved
elephant would think of starting his day’s labor without his morning cereal – a
bale of hay. Most of all, these
purchases are made from local merchants.
The circus travels on its own trains and only requires
engines and crews from the railroads.
The show also carries its own blacksmiths, horseshoers, wagon and
harness makers, tent makers, rope splicers and a corps of decorators are kept
on hand continually touching up the gilded and brilliantly painted tableau
wagons and cages. Two men are employed
eight hours a day doing nothing but greasing axles. In the wardrobe department presided over by
Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000
costumes have to be handled daily and kept in repair. Five dressmakers and six
tailors, besides armorers, are in this department. The circus has its own physician who carries
with him a complete surgical and medical outfit. There is also a barber shop
and, incidentally, no driver or man appearing before the public is allowed to
leave the show grounds until he is shaved. This also suggests another rule
strictly enforced by the Ringling Brothers’ which absolutely forbids the use of
whips by any of their drivers.
It costs $8,000 a day to run the circus and it represents
and investment of nearly $4,000,000. The
show maintains winter quarters and shops at Baraboo, Wisconsin, and
Stoke-on-Trent, England. The firm is now planning an expedition of its own to
trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on
the alert to secure novelties.
Starting as mere boys with a borrowed tent in which they
were given a few juvenile attempts at entertainment, these five brothers have
seen their dreams realized and have become master showmen of the world.
The afternoon performance began at 2 o’clock and the big
tent was crowded. Opening the bill came
the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or
so effectively presented has ever been given here before. The opening pageant, the ballet of dancing
girls and the dramatic action were veritable surprises. The spectacle was followed by surprises. The spectacle was followed by the circus
performance in which 400 men and women appeared. More novelties that ever before are
presented, the Ringlings having brought from Europe the majority of their
people.
The final performance will take place Tuesday night at 8
o’clock. The doors open an hour earlier,
allowing time to visit the extensive menagerie and also enjoy the operatic
concert rendered by the military band of 80 pieces.”
To be continued…
In 1913, Thomas G. Moses wrote,
“A new set for the Hippodrome, city.” Moses was referring to a cityscape
setting for Chicago’s Great Northern Hippodrome Theatre. Later that year he
added, “I did a drop curtain for the Great Northern Theatre. A very delicate
Italian Landscape.” For such a popular space to see live entertainment, little
is known of the actual venue.
Postcard with Great Northern Theatre, date unknown.Postcard of Great Northern office building with theater next door to Great Northern Hotel.
Here is all that I could track
down:
The Great Northern Hippodrome was located in a massive
high-rise building at 26 West Jackson, between State and Dearborn Streets. The
Great Northern Office and Theatre Company building was designed by D. H.
Burnham and Co. in 1896 and adjoined an earlier Great Northern hotel building.
Burnham & Root designed the Great Northern Hotel before John W. Root’s
passing.
Great Northern Hotel with theater and office building.Great Northern Hotel with theater and office building.
Opening on Nov. 9, 1896, Great
Northern Theatre productions included legitimate theatre, vaudeville, movies,
and stock company productions. During February 1910, the Schuberts took over
the building, redecorating the theater and renaming it the Lyric Theatre. The
theater was again renamed, becoming the Great Northern Hippodrome.
The new theater offered a
variety of continuous performances from 11 a.m. until 11 p.m. daily.
Advertisements promised, “All that’s great in circus, vaudeville, hippodrome,
and novelty features” (Chicago Tribune, 23 May 1913, page 10).
From the “Chicago Tribune,” 28 Dec 1913, page 49From the “Chicago Tribune,” 5 Oct 1913, page 20From the “Chicago Tribune,” 13 Oct 1913, page 8From the “Chicago Tribune,” 23 May 1913, page 10
When Sosman & Landis delivered scenery to the Great
Northern Hippodrome in 1913, it was part of a program change, the venue now
focused on live entertainment. On July 27, 1913, the “Chicago Tribune” reported, “The Great
Northern Hippodrome, having discontinued motion pictures, is now offering
fourteen acts of vaudeville divided into two bills of seven acts” (page 14).
Moses’ drop city setting and drop curtain were part of this makeover.
Like many historic venues of the time, the Great Northern
Office and Theatre Building were demolished, in 1961 to make room for the
Dirksen Federal Building.
Sosman & Landis delivered scenery for a production of “The Elk’s Tooth” in 1913. An elk’s tooth was known for good luck, and was incorporated into watch fobs, tie clips, necklaces, earrings and other personal artifacts at the time. It was also the theme for a play written and staged by H. L. Brown. The play became associated with the Benevolent and Protected Order of Elks.
A vintage BPOE elks tooth watch fob.Postcard for the BPOE, 1913.
On October 1, 1913, Oregon’s “La
Grande Observer” included the article about the production of
“The Elks Tooth” with scenery by Sosman & Landis:
“Seat Rush is on Saturday. The Elk’s Tooth is a great big extravaganza of bright, wholesome comedy, catchy music, clever dancing all superbly mounted with special scenery and gorgeous costumes especially made and designed for this especial piece. The scenery was built and painted by the big Chicago firm of Sosman & Landis and is without doubt the finest ever brought to this city. Act 1 represents a big modern ocean liner at sea, and is considered to be the most complete setting of a ship on the stage today. Act II is the shore of a south sea island with a wealth of tropical foliage. Act III shows a south sea island village of thatched roof huts over looking the ocean in the distance. A special crew of ten stage hands will be required to handle the scenery alone at the performances next Monday and Tuesday nights, Oct. 6th and 7th.”
“The Elk’s Tooth” was described in
the “La Grand Observer” on Oct. 6, 1913: “The play opens on board an ocean
liner, which is lying in a bay of a south seas island repairing machinery.
Among the many passengers who are on board are two American tourists traveling
around the world under a wager, disguised as a Dutchman and a tramp. The plot
hinges on these two characters. At the close of the first act, a genuine
southern storm comes up and the ship narrowly averts being wrecked on he rocks.
During the storm, the Dutchman and the tramp are blown overboard, while the
ship catches fire and is blown out to sea with all on board. Fortunately a
chicken coop is blown overboard, to which the two men cling until morning, when
they are washed ashore. As they land on the island and are contemplating a
search for food, a tribe of cannibals overpowers them and ties them to trees.
The cannibals build a big fire and prepare for a feast when they discover the
Elk’s tooth worn by the Dutchman, Hostilities cease, and, very much to the
surprise of the American’s they crown the Dutchman king. The mystery
surrounding the elk’s tooth provides the theme for a subsequent developments
and final conclusion of an interesting and thrilling story. The ludicrous
situations in which the two comedians find themselves furnish an abundance of
humor that is ever clean and wholesome, and the beauties of a southern tropical
island form an appropriate setting for the choruses and dances” (page 4).
From the “Arizona Republic,” 7 March 1916 page 12 From the “Billings Gazette,” 6 Oct 1908 page 8From the “Salt Lake Herald,” 25 Feb 1909 page 11
The cast of characters is quite
humorous in itself. The Dutchman is named Weinie Wurst. The Tramp is named Easy
Tyme. The S. S. Sea Queen crew includes
Captain Blowhard, mate Bowling Knott, and Griddle, the cook. The cannibals living on the south sea island
of Kokomo are led by Cookem Quick, the chief. The titles of the songs are not
as creative, but range the gamut from “Oh, Merry Maiden” to “By Right and
Discovery.”
Of the production, the “Statesman
Journal” reported that H. L. Brown’s operatic comedy was “recognized as the
greatest production for Elks’ theatricals in the country…a carload of scenery
and equipment is carried by Mr. Brown, the director” (5 Jan. 1913, page 4). So
popular was “The Elk’s Tooth,” that it later became a movie in 1924.
In 1913, Thomas G. Moses wrote
that Sosman & Landis delivered, “A new interior for the Olympic Theatre.” This meant that they designed and installed a
new painted interior set (box set) for the stage at the Olympic Theatre. An
interior set included a series of interchangeable flats that could be lashed
together to form a box set. I transported an interior set to the Matthews Opera
House (Spearfish, South Dakota) that was manufactured by the Twin City Scenic
Co. around that time and set it up. Cleats and cords lashed the various flats
together, and we rapidly assembled the set in a manner of minutes. Previously,
I had set up a series of vintage interior sets at the Czech-Slovak hall
(C.S.P.S. building) that was similar in construction for documentation. In both instances, I was amazed at how
quickly a box set could be assembled and torn down. What an ingenious system.
Interior set produced by the Twin City Scenic Co., now in Spearfish, South Dakota, at the Matthews Opera House.Double-painted interior set at the C.S.P.S. Hall in St. Paul, Minnesota. This is the backside. Note cleats and cords.Double-painted interior set at the C.S.P.S. Hall in St. Paul, Minnesota. Front side.Fancy interior set at the C.S.P.S. Hall in St. Paul, Minnesota.
In regard to the theater where
Sosman & Landis delivered the interior set, Chicago’s Olympic Theatre was located
on Clark and Randolph streets. At the time, Sam Lederer managed the venue,
featuring Klaw & Erlanger productions. The ground-floor theater,
illuminated by electricity, had a seating capacity was 1,584. The proscenium
opening measured 37 feet wide by 24 ¾ feet. The stage was 26 ¾ feet deep with a
back stage width of 71 feet. The height to the rigging loft was 53 ¾ feet and
the height to the fly gallery 25 feet. The under stage area was 8 feet deep. A
pretty standard space for the time.
Like many entertainment venues
in Chicago, the Olympic Theatre has a very complex history. Originally named
the New Chicago Theatre in 1873 by James H. McVicker, it was built on the
previous site of Kingsbury Hall, a building that had been destroyed during the
great fire of 1871. This venue enjoyed a series of names changes between 1873
to 1893, switching from the New Chicago, to Grand Opera House, Cristy’s Opera
House and the Music Hall. An extensive remodel of the space then resulted in
the newly named Olympic Theatre. However,
in 1907, a fire caused extensive damage to the building, resulting in the
rebuilding of the space. When Sosman & Landis delivered the interior set,
it would have been an extension of their stock scenery collection.
The Olympic Theatre name did not
last, however, and soon became Schubert’s Apollo Theatre. This name change was
after the 1921 Apollo Theatre at Dearborn and Randolph Streets was converted
into the United Artists movie house in 1927.
Plan of the Olympic Theatre that I discovered online.Image of the old Olympic theater (74 W. Randolph St.) after it became the Apollo Theatre and was going through renovations.
It is the repetition of theater
names across the country that makes tracking down the history of some venues so
very difficult. I of ten feel like a detective, verifying all of the specifics
before including any specific details.
The Olympic Theatre/Schubert’s
Apollo Theatre building was eventually closed and razed in 1953 for a Greyhound
bus terminal. Unfortunately, even the bus station did not last and was replaced
with the Chicago Title & Trust building in 1992.
In 1913, Thomas G. Moses wrote,
“Took a quick trip to Fort Wayne and settled for a lot of Masonic work at the
Temple.”
Postcard of the Fort Wayne Scottish Rite Cathedral.
Over the past few years, I have repeatedly
mentioned the Fort Wayne Scottish Rite.
Like many other Scottish Rite stages, their scenery collection was a
compilation of backdrops produced by more than one scenic studio over the
years. This is not unusual. It was common for Scottish Rite clients to make
multiple purchases over a period of years or decades, repairing, replacing and
sometimes upgrading their stage work. Masonic scenery collections are like patchwork
quilts, all composed of different fabric squares with their own history.
Sosman & Landis records note
that they delivered scenery to the Fort Wayne Scottish Rite in 1907 and 1913. The
first scenery was delivered prior to the completing the 1909 building. Keep in
mind that the Santa Fe Scottish Rite ordered a fill set of scenery for practice
prior to the opening of their new building. In Fort Wayne, additional scenery
for the 1909 building was delivered by Toomey & Volland, not Sosman &
Landis. However, it is very likely that some of the original 1907 Sosman &
Landis backdrops were transferred to the new stage in 1909.
1909 Program from the Fort Wayne Scottish Rite.Program from the 1909 opening of the Fort Wayne Scottish Rite Cathedral.Program from the 1909 opening of the Fort Wayne Scottish Rite Cathedral.Program from the 1909 opening of the Fort Wayne Scottish Rite Cathedral.Program from the 1909 opening of the Fort Wayne Scottish Rite Cathedral.
Toomey & Volland delivered
scenery to the Fort Wayne Scottish Rite in 1909 and 1945. The 1909 stage was unveiled at the
consecration and dedication ceremony of the Scottish Rite Cathedral on Nov. 17,
1909. The three-day fall reunion coincided with this event. Furthermore, a 1912 advertisement in the “The
New Age Magazine” credited Toomey & Volland with the stage scenery installed
at the Fort Wayne Scottish Rite. Moses’
1913 entry in his diary, “Took a quick trip to Fort Wayne and settled for a lot
of Masonic work at the Temple” meant that their membership was rapidly growing.
The Fort Wayne Scottish Rite building
was described after it opened in the “Kansas Republic” (December 2). The article noted, “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” (Kansas City, Dec. 2, 1909).
This information suggests that the original Scottish Rite scenery in
Fort Wayne by Sosman & Landis (1907) was for the 4th-18th
degrees and delivered prior to the construction of the new building. Toomey
& Volland produced the 19019 scenery used in the 19th -32nd degree
productions, delivering it to the new stage.
The “Kansas Republic” article further described the new
Scottish Rite Cathedral in Fort Wayne: “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 “St. Louis firm”
mentioned was Toomey & Volland.
There are many reasons why the Fort Wayne Scottish Rite
may have reached out to Sosman & Landis for new scenery in 1913. If Toomey
& Volland could not complete the project in the allotted timeframe, they
likely recommended Sosman & Landis. Demand for painted scenery was still
greater than supply, making for friendly competition.
Big events were continually planned at the Fort Wayne
Scottish Rite too, also providing an incentive for new stage settings. In 1913,
the “Fort Wayne Sentinel” announced “Masons Gather in Fort Wayne, Spring
Scottish Rite Meeting Attracts Large Number of Visitors” (15 April 1913, page
2). Scottish Rite Masons from Northern Indiana and the Fort Wayne area gathered
for the opening session of the annual spring convocation in 1913. Several
hundred Masons attended the spring convocation that lasted three days. As
Scottish Rite membership skyrocketed in the early twentieth century, additional
scenes for degree productions were continually added to existing collections.
This practice was common as Scottish Rite bodies continued to focus on superior
membership experiences during ceremonials.
In 1914, the “Fort Wayne Sentinel” announced that the
Scottish Rite had added a degree production. This is likely the degree that
used new scenery produced by Sosman & Landis, first mentioned by Moses in
his 1913 diary entry. On Nov. 17, 1914, the article headlined “TO GIVE DEGREE
FOR FIRST TIME. Scottish Rite Convocation Opens With Class of Good Size” (Fort
Wayne Sentinel, page 9). The article continued, “The annual fall reunion of the
Fort Wayne Scottish Rite bodies opened at the Scottish Rite cathedral Tuesday
afternoon with the conferring of the degrees of Fort Wayne Lodge of Perfection
upon a class of half a hundred candidates. Many Scottish Rite Masons of
prominence are in the city to attend the reunion. Fort Wayne consistory has
added another exemplified degree to its list, and the present class will be the
first one in the city to receive the exemplification of the Twenty-second
degree. It will be given late Wednesday evening, and the reunion will come to a
close on Thursday evening.”
The Sosman & Landis’ design for the 22nd
degree was known as “The Carpenter Shop.”
I have documented a few of these scenes over the years, with the
earliest example being in Cheyenne, Wyoming, from 1911. The 22nd
setting did not require a specific composition prior to this time. Many Scottish Rite valleys simply set it in
the woods, using props to suggest a carpenter’s shop, and not an interior
shop. However, adding new settings, or
staging new degrees, facilitated the continued growth of the Rite during this
time. Something new, such as the staging of a new degree, prompted old members
to return and new members to join. It is a standard marketing technique,
repackaging the experience in a way, or creating a superior ceremonial
experience. The Northern Masonic
Jurisdiction became experts at this approach, rewriting and restaging many
degrees over the years. The Southern
Jurisdiction seldom revised, but for a long time continued to expand on the
experience.
I have to wonder if Scottish membership decline was
partially due to the fact that the Fraternity stopped trying to improve
individual experiences for each member. I don’t mean that there was an overt
attempt NOT to care about the degrees or expansion of the membership, but many
Southern Jurisdiction Scottish Rites stopped a variety of practices during the
late 1920s, including the investment in fraternal paraphernalia and new degree
settings. Overall, the development of new scenery for degrees comes to a
screeching halt by the late 1920s. Some cite the Great Depression or military
conflicts as a reason, or various progressive movements and a general backlash against
what some consider conservative establishments. Regardless of the
circumstances, there is a fundamental change in Scottish Rite leadership
beginning at this time, one that still continues until today.
At one point, Masonic membership was primarily composed
of young men, men in their prime and full of ambition and ideas. That is not
meant to say that there were not older members in leadership roles. The
organization may have been guided by older and more experienced members, but was
expanded by younger enthusiastic visionaries. I think of what Bestor G. Brown
accomplished before passing away in his 50s. His contribution to the growth of
the Fraternity was providing a superior experience for its members but
constantly improving the individual experience.
The focus seems to shift away from the continued improvement
of individual member experience to the emphasis as the organization as a
benevolent benefactor, or public persona. The social perception of the
fraternity as a whole seems to become a major driving force in decision making
after WWII.
One example that continues to divide the Fraternity is
large charitable donations that are given away to non-Masonic groups. This is happening at a time when lack of
financial assistance causes many Masonic lodges to close, the same lodges that
continue to donate much of their funding to those outside of the Fraternity.
While a dwindling membership continues to raise massive
funds for Masonic charities, lodges close due to lack of funds. At some point the
gravy train will come to an end and charitable donations cease when there are
not enough lodges to raise money. The thousands of dollars generated from pancake
breakfasts and other activities will end when there is no longer the membership
to staff each event. Ultimately, each lodge that closes is one less lodge that
will contribute funds to Masonic charities. As what point does a lodge
fundraise for themselves or their building repairs, just to keep their doors
open and focus on the membership experience?
I think of the well-known story of the carpenter who lives in a
cardboard house and this seems to be happening in many regions.
