Sosman & Landis – Page 29

Tales from a Scenic Artist and Scholar. Part 629 – The Cleveland Scottish Rite, 1909

Part 629: The Cleveland Scottish Rite, 1909

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia.

The Valley of Cleveland consists of a ten-county area in northern Ohio. The four Scottish Rite bodies included the Eliadah Lodge of Perfection, Bahurim Council, Ariel Chapter and Lake Erie Consistory. I have uncovered very little information about the building occupied by the Cleveland Scottish Rite before their move to their new home at 3615 Euclid Avenue. The previous Masonic Temple was built in 1883 and located at Superior Avenue and East 6^th St.

Masonic Temple in Cleveland where the Scottish Rite met before the 1921 Masonic Auditorium was constructed.

Of this first home for the Scottish Rite, the “Akron Beacon Journal” noted that eight Akron Masons received the 32^nd degree at the Spring Scottish Rite reunion in Cleveland (10 March 1910, page 4). The article reported, “The territory covered at this meeting is of northeastern Ohio. Several hundred are expected from the cities. Between 50 and 100 from Akron intend to go. There will be a class of 95 who will take their degrees up through the 32^nd degree.” The first Masonic Temple was obviously a sizable space.

Masonic Auditorium in Cleveland, Ohio. Occupied by the Scottish Rite form 1921-2017.

Construction for the new Masonic building commenced during 1918. Interestingly, in 1919, Toomey & Volland scenic studio records indicate that they created scenery for the Cleveland Scottish Rite Temple. Ten years earlier, Sosman & Landis created the scenery for degree work in Cleveland. After 1915, it was not uncommon for Toomey & Volland to underbid Sosman & Landis on Masonic projects, especially in the Northern Masonic Jurisdiction. The Masonic connection provided by Joseph S. Sosman, of Sosman & Landis, disappeared when he passed away in 1915. Thomas G. Moses had taken over the company but was not yet a Mason.

Masonic Auditorium in Cleveland, Ohio, built in 1921

The new Masonic Temple in Cleveland was designed by Hubbell & Benes, the same firm that designed the Cleveland museum of art in 1916. Home to many Masonic Orders, including the Scottish Rite, the massive Masonic structure covered 102,000 square feet of space, with a 2200-seat auditorium. Acclaimed for its acoustics, the Masonic Temple was once home to the Cleveland Orchestra for a decade, before their move in 1931 to Severance Hall.

Smaller theatre in Cleveland Masonic Auditorium building

Smaller theatre in Cleveland Masonic Auditorium building. View from stage

As with many other Masonic buildings of this scope, declining membership after World War II and escalated expenses from deferred maintenance cause the Cleveland Masons to put their building on the market in 2017. The corporate secretary of the Cleveland Scottish Rite admitted that it cost $400,000 a year to maintain the building, “an outlay that would soon exhaust the operating endowment.” There is an article from 6, August, 2015 that includes some lovely photographs of the building. Here is the link to many of the attached pictures (https://www.cleveland.com/architecture/index.ssf/2015/08/landmark_masonic_auditorium_-.html).

Nearly one hundred years after construction began on the Masonic Auditorium in Cleveland, it was sold to a private developer. An affiliate of Arkansas-based Beaty Capital Group, Inc. paid only $725,000 for the complex on March 31, 2017. Cleveland’s Masonic building is listed on the National Register of Historic Places, the property is eligible for preservation funding including state and federal tax credits.

This is the same group that purchased the Scottish Rite in Forth Smith, Arkansas.

Scottish Rite Temple in Fort Smith, Arkansas

A subsidiary of the Beaty Capital Group, TempleLive (https://www.templelive.com/about/), also purchased the Zembo Shrine building in Harrisburg, Pennsylvania in 2018 (https://www.pennlive.com/news/2018/01/zembo_shrine_sale_shriners_ple.html).

Zembo Shrine in Harrisburg, Pennsylvania.

In Cleveland, Fort Smith and Harrisburg, the Fraternity will never be able to afford the expense of constructing anything comparable. The materials and craftsmanship necessary to build these types of buildings are often no longer available. In Cleveland, the chandeliers are made from pieces of shell and hobnailed doors lead to the auditorium. The ones who lose are future generations of Masons who will never experience the space, or the physical sense of heritage. The buildings were planned and constructed by men with vision. It also takes vision to place Freemasonry in the context of today and contemplate how these venues can be saved. The winners in the end are those who are able to purchase these jewels for less than market price and turn a profit.

To be continued…

Tales from a Scenic Artist and Scholar. Part 628 – The San Francisco Scottish Rite, 1909

Part 628: The San Francisco Scottish Rite, 1909

In 1909, Thomas G. Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” These were only three of six Scottish Rite installations supervised by Moses in 1909 while he was working at Sosman & Landis. Others included Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia.

The San Francisco Scottish Rite built in 1909. It is now called the Regency.

The first San Francisco Scottish Rite outfitted with scenery by Sosman & Landis was destroyed during the fire after the San Francisco earthquake. The original 1906 collection was contracted with M. C. Lilley & Co., and subsequently subcontracted to the Sosman & Landis scenic studio. In 1906, the western sales representative for M. C. Lilley & Co., Bestor G. Brown, was in town attending a meeting at the San Francisco Masonic Temple when the earthquake struck. During the first tremors early in the morning of April 18, 1906, Brown was sleeping at the Union League Club. The San Francisco earthquake triggered several fires that burned the city for the next two days. Brown’s eyewitness account of his experience was first published in the “Topeka Daily Capital” (April 25, 1906, page 7).

The article reported, ““The Grand Chapter of Masons met in the forenoon at the Masonic temple and were holding their meeting when the military came in and said it was time to move as they were going to dynamite the Palace hotel.” Brown elaborated, “I went out to the street and saw the fire creeping up from two sides. I saw it creep up to the back door off the meat market on Market Street and the minute it touched the rear of the building it seemed to sweep through and bulge out into the street in front. About the time I took to the woods, I started for the waterfront and got there in about an hour and a half.”

Cornerstone laying ceremony took place after the building was constructed, on October 12, 1909. From “The San Francisco Call,” Oct. 13, 1909

The cornerstone for the second San Francisco Scottish Rite Temple was laid on October 12, 1909, by the Grand Master of California, Oscar Lawler. The “San Francisco Call,” reported “Cornerstone of Scottish Rite Cathedral Lowered Into Place Before Big Throng.” The trowel was a “handsome beaten silver blade of which the insignia f the order was an appropriate inscription” and presented to Grand Master Lawler by W. P. Filmer in behalf of the Scottish Rite Temple Association. Lawler was retiring and being succeeded by W. Frank Pierce. Remember that Pierce was also the Inspector General of California and the Grand Grand Chancellor of the Scottish Rite instrumental in advocating for the new House of the Temple. As part of the Finanace Committee, Pierce introduced the 1904 resolution that paid each SGIG and Deputy $2 per each incoming 32^nd degree Mason for each respective jurisdiction

The “San Francisco Call” article continued, “The dedication of the building itself was as a house erected to God, and destined to stand as a symbol of truth, intelligence, honesty and integrity in the pursuit of the highest ideals of mankind.” The time capsule placed under the cornerstone included a roster of the members of the San Francisco bodies of the Ancient and Accepted Scottish Rite of Freemasonry, a copy of the Trestle Board for October, 1909, the bulletin of the San Francisco lodges of perfection for August and September, 1909, the latest bulletins of the chapter, council, and consistory, the bulletin of the reception to Sovereign Grand Commander James Daniel Richardson, the notice of laying of the cornerstone, samples of the stationary used by the San Francisco bodies of Scottish Rite, the San Francisco morning daily papers of yesterday, the proceedings of the grand lodge of California for 1908, coins minted in 1909, a copy of the New Age for September of this year and business cards of the architects and contractors in charge of the construction of the building.”

Located on the northeast corner of Sutter Street and Van Ness avenue, the block was cemented in the foundation wall of the new building. The final cost of this four-story building was $330,000 and was home to the San Francisco Bodies No. 1, Ancient and Accepted Scottish Rite. As part of the ceremonies on October 12, 1909, the “San Francisco Call” noted that “many members of the grand body attended a meeting in King Solomon’s Hall, where Berkeley lodge exemplified the work in the apprentice, or first degree.”

The stage was outfitted with scenery by Sosman & Landis, and Moses supervised the production of the backdrops for the West Coat. These drops area still used on the same stage, but the building is now known as the Regency Center. It is no longer owned by the Fraternity and odd to see the Masonic settings as thematic backings for a variety of public events, including cabaret shows. The current stewards of the building now advertise the edifice as a unique venue with three separate event spaces. The Scottish Rite theater is now marketed as “The Lodge.” Generations of San Franciscans have now performed on the stage, worked the fly lines, or applauded from the audience, all marveling at the painting from years ago. Moses’ scenery, especially his forest scene, continues to thrill both spectators and performers.

Landscape scene by Thomas G. Moses (1856-1909) in the 1909 Scottish Rite building, now called the Regency

The Lodge of the Regency, once the 1909 San Francisco Scottish Rite

Scenery at the 1909 Scottish Rite building used for a cabaret show

In 1964 the San Francisco Scottish Rite moved to new building, new scenery constructed by the Western Scenic Studio, of Oakland, California. The backdrops were designed and painted by member Gus R. Schneider, an MGM artist. The third Scottish Rite constructed for the San Francisco Bodies is a sign of the times when it was built. I have included some images that from their Facebook page that give a sense of the degree work now being performed in the space with Schneider’s scenery.

Scenery at the San Francisco Scottish Rite

Scenery at the current San Francisco Scottish Rite

To be continued…

Tales from a Scenic Artist and Scholar. Part 627 – The Dallas Scottish Rite, 1909

Part 627: The Dallas Scottish Rite, 1909

Postcard of the Scottish Rite Cathedral in Dallas, Texas, completed in 1913.

Sosman & Landis delivered 119 drops and stage machinery to the Scottish Rite at 500 S Harwood Street, Dallas. This Temple was not completed until 1913, however, degree productions took place on the stage by 1909. The scenery contract for the stage was negotiated by Bestor G. Brown of M. C. Lilley & Co.

On April 26, 1913, the “Dallas Morning News” described the Masonic Cathedral and Architect Herbert M. Green’s contributions. Keep in mind that the theater of the building was referred to as “the great degree room.”

The article reported, “On the second floor one will find the lobby, which is in Roman Ionic; the Corinthian lodge room is green and gold: candidates lounging room, modified Colonial with color scheme of brown and blue and smoking foyer in the same effect. In the great degree room are columns copied from those in the Temple of Karnak at Thebes. Over sixty shades of color are used harmoniously in the ornamental beams and columns supporting the ceiling of sky blue – a ceiling whereon the stars of the twelve signs of the Zodiac are so cunningly constructed, and with such ingenious electrical attachments that when the great hall is in total darkness, the constellations seem to blaze in all reality from the very heavens above.

The largest stage in Texas is in this degree room – and the largest pipe organ. There are offices restrooms, wardrobe rooms, bowling alley, grill and kitchen – heating, ventilating and lighting systems which are unsurpassed, push button elevator and house telephone system – In short every device by which modern ingenuity can add to beauty and comfort and convenience.”

The article further described that the theater, “a proscenium arch 28×22 feet is the largest stage in Texas, 24 feet deep and 60 feet in width. One hundred and nineteen scenic drops are so delicately counterweighted that the stage picture can be changed in two seconds, and if necessary in the dark. These drops are hung over the entire ceiling of the stage, being spaced three inches apart from the proscenium arch to the rear wall of the stage. Each degree has its own scenery, some degrees three and four scenes, all forming an extensive and complete equipment that it is possible to produce more different scenes than on any stage in the country. Fifteen hundred white, blue, red and amber lights, controlled from a switchboard seven feet high and twelve feet long are required to light the stage properly. These are subdued and softened as necessary by bank after bank of dimmers arranged by interlocking devices to control the degree of light at any one point of en masse. The dawn of day, a nightfall or a moonlight effect can be reproduced with marvelous fidelity…To the rear of the stage are property rooms, etc. and on the third floor a large wardrobe room, with cases for the various costumes.”

The 1913 article concluded, “”The complete cost of the building has not been, as yet, made public but it is expected to be close to $230,000. Other items not included in the building cost are:
Organ $23,000.00
Stage Scenery $28,000.00
Furnishings $21,000.00
Ground $34,000.00
Making an estimated cost of the complete equipment of about $350,000.”

The article ended here.

Today’s monetary equivalent of $28,000 spent in 1909 for a Scottish Rite scenery collection is $773,024.62. Dallas was only one of six Scottish Rite collection supervised by Thomas G. Moses that year. The others were in San Francisco, CA, Cleveland, OH, Kansas City, KS, Winona, MN, and Atlanta, GA. Keep in mind that Masonic work only made up 25 -30% of all work at the Sosman & Landis studios. The firm, like the Scottish Rite, was accumulating a massive amount of money at this point.

In a letter from Brown to William G. Bell at the Austin Scottish Rite, dated July 7, 1912, Brown provided further information pertaining to the Dallas Scottish Rite stage. This correspondence was to help Austin Scottish Rite bodies understand the design and delivery process; Sosman & Landis could not provide estimates or cost and installation without knowing how much scenery was needed and the structural condition of the building. Brown used the Dallas Scottish Rite as an example, writing, “the Dallas stage has in the neighborhood of 25,000 lineal feet of wire and rope in its installation; the quantity of wire and rope necessary, is determined by the heighth of the gridiron, the location of the fly gallery, and the general dimension of the stage. We would also have to look into the question of freight charges and be advised as to what prices we could obtain common gray iron castings in Austin for use as counterweights. We would have to determine on the correct number of drops to be used, because each drop requires eight pulleys besides counterweight frames and eye bolts.” These costs all needed to be estimated prior to providing a number, yet the Austin Scottish Rite kept asking, “but how much will it cost?”

Brown continued, “In our original correspondence, Mr. Green of Dallas, indicated that he was preparing plans for remodeling an old building [in Austin] and that when these plans were determined upon, he would send us the dimensions of the stage. Mr. Green understands what would be wanted, as he had the experience on the Dallas Temple.” Again, Brown was referring to Herbert M. Green, the architect and a member of the Scottish Rite and the Ancient Arabic Order of the Nobles of the Mystic Shrine.

To be continued…

Tales from a Scenic Artist and Scholar. Part 621 – Meanwhile in Lawrence, Kansas

Part 621: Meanwhile in Lawrence, Kansas

In 1909, the Topeka Scottish Rite membership was soaring and the scenery provided by Sosman & Landis to the Valley in 1906 was still an unprecedented success. Meanwhile in Lawrence, Kansas, there were new plans a brewin’…

“The Lawrence Daily World” included the article “Scottish Rite Temple Here” (29 April 1909, page 1). The first four lines printed in bold included:

Plans Are Underway for a $20,000 Building

AN OLD MUSIC HALL CORNER

Secured Option on Property Today for $10,500.

Will Probably Erect New Building This Coming Summer – To Help Masonry Here.”

There you have it; big beautiful buildings incited men to join the Ancient and Accepted Scottish Rite of Freemasonry. The bigger, the better. Impressive edifices signaled a successful group of men doing exciting things.

Little did Lawrence Masons realize that their vision for the future would never last. Could they have even conceived that by the summer of 2018, the Lawrence Scottish Rite Bodies would move once again from a space in a shopping mall to a nondescript metal warehouse.

Home of the Scottish Rite in 1911. Lawrence, Kansas.

Home of the Scottish Rite in 2018. Lawrence, Kansas.

As we drove through Lawrence on our way home last summer, I desperately tried to find the current Scottish Rite location; we were making stops along the way from Santa Fe to Minneapolis. After making several circles around a shopping mall parking lot, we finally found the new building a few blocks over, and my expectations were crushed. I have never encountered any building with less character and I could not help think of the irony when reflecting on the degree work that heralded King Solomon’s Temple and the chief architect Hiram. I could hear the arguments to move to a smaller, and less-expensive location, citing declining membership and increasing building expenses. I am sure not all jumped on board as the Scottish Rite Masons left their magnificent home.

So lets go back to 1909 and see how these beautiful buildings ushered in a wave of membership and newspapers reported that new buildings were being constructed to “Help Masonry”

The Lawrence Daily World” reported,

“A committee of five from the Ancient and Accepted Scottish Rite lodge of Perfection visited J. B. Watkins this morning and secured an option for the old Methodist church at the corner of Berkely and Massachusetts street, for $4500 less than what Mr. Watkins figured was a reasonable interest on his investment.” Today’s monetary equivalent of $4500 in 1909 is $124,173.79. That is a lot of money to give up for a good cause, even if you are a Mason.

The article continues, “Mr. Watkins made this special price of $10,500 because he said he considered the property as sacred ground, and favored a Scottish Rite temple being built on the site.

This encouragement and the words of Governor Stubbs in Topeka yesterday, that the Scottish Rite body of Lawrence ought to have a temple, together with the enthusiasm of the fifty members present at the meeting last night, and the recent words of Grand Inspector General Thomas W. Harrison, of Topeka, encouraging the Scottish Rite bodies to press forward enthusiastically and increase their membership and build a building if they ever expected to have a consistory here, all seemed to make this an opportune time to seize this opportunity and start immediately effecting plans for the building, and raising the money from the members by subscription to stock to build a temple that would easily accommodate and enrolled membership of a thousand.

A Lawrence consistory of 32^nd degree, Ancient and Accepted Scottish Rite Masons would have jurisdiction over the state of Kansas, except those countries in which there were already established consistories – like Topeka, Wichita, etc. Also it would have the added advantage of securing new members from among the student Masons attending K. S. U., besides the 500 Blue Lodge Masons in Lawrence, and all Blue Lodge Masons in adjoining towns, the insuring continued and rapid growth and assured success to the enterprise.

The plans are estimated to require an expenditure, all told, or some $20,000, and figured on a strictly business basis of income from the building, and increase in the membership to create a sinking fund expected to clean up its indebtedness in from five to seven years, as that has been the history of the success of every Scottish Rite body that has taken an aggressive stand and started to build a temple, as can readily be proven by the records of the many temples in Kansas.

It is eminently fitting that the Lawrence bodies should have a template of their own, as it was the first Scottish Rite organization in Kansas, and has installed the bodies of the Topeka, Fort Scott, and most of the other prominent lodges in the state.

This is also a good thing for Lawrence, and the Masonic bodies in general, as it is aiding to cement them all the more closely together, and is evidence of the rapid march of Lawrence to the front as one of the wide awake towns in the state.” The Ancient and Accepted Scottish Rite Cathedral Committee of Lawrence Kansas, was listed as J. H. Cohn, C. W. Murphy, F. P. Smith, T. J. Edmonds, and Frederick Crowe.

In 2003, the “Lawrence Journal-World” included the article “Landmark sheds its wraps; Masons seek temple buyer” (14 May 2003). The executive secretary of the Scottish Rite commented that the Scottish Rite in Lawrence, Kansas, was “Faced with aging membership and ever-increasing costs.” Lawrence-area Freemasons decided to sell the majestic Scottish Rite Temple.

Executive Secretary of the Lawrence Scottish Rite in an article that reported the intended sale of the Masonic Temple. He is pictured in front of a Sosman & Landis backdrop. At the time, area Mason believed that nearby college students created the scenes.

The Scottish Rite auditorium pictured in 2003.

The asking price for the 1911 Egyptian-Revival style building was $775,000. At the time, the stage included 55 backdrops. It was another collection that Thomas G. Moses recorded being responsible for at Sosman & Landis. The fate of the scenery is currently unknown.

Sosman & Landis backdrop created for the Lawrence Scottish Rite, 1910.

To be continued…

Tales from a Scenic Artist and Scholar. Part 604 – Elk’s Temple Theatre in Detroit, 1908

Part 604: Elk’s Temple Theatre in Detroit, 1908

Yesterday, I explored the creation of a drop curtain by Sosman & Landis for the renovated theatre at the Elk’s Temple during the 1908. Here is another interesting article on the opening after the completion of the renovation during July 1908.

Here is the article published in the “Detroit Free Press” on July 26, 1908 (page 7):

TEMPLE THEATER; INTERIOR BEAUTIFULLY DECORATED, READY TO CHARM AND AMUSE

Richly Trimmed in Ivory and Gold, Soft Blues, Massive Mirrors, Hanging with Massive Cords and Tassels, Cosy Little Playhouse is One of Most Magnificent in the Country.

“Tomorrow afternoon will be thrown open to the public one of the most exquisitely, beautiful interiors ever designed to delight a Detroit audience when the Temple theater after having been closed to its patrons for three weeks will be reopened to the thousands of men, women and children who have come to look upon this pretty little play house as one of their weekly haunts.

But if the Temple has for years been one of the most attractive spots to the pleasure-seeker in quest of a few hours diversion, it has in the last three weeks become much more than that – the ideal of the artists and the skill of the decorator has been combined to produce here as a charming an effect as could well be imagined. In ivory, gold and varying hues of soft old blue, the spirit of the Italian Renaissance has been wrought out with marvelous success. The William Wright Company, responsible for the conception and execution of all this dainty, bright, buoyant one-harmony has achieved no small triumph in what they accomplished in the Temple theater interior. If the contention of those philosophers be true, who say that the moral tone of a community is elevated when it is provided with pure beauty in its public buildings, then this little playhouse since it has been converted into a symphony of blending tones ought to expert a happy influence upon the thousands who frequent it every week.

A symphony of color.

It’s difficult to make a pen picture of the effect that long hours of planning on the part of his decorators have produced. From the very light blue and cloud effects of the dome with its heavy escutcheons in gold to the ivory walls with their gold-capped pilasters, to the deeper Italian blue of the brocatelle hangings with their massive cords and tassels, and from these to the still deeper tones that soothe with they vivify.

The very spirit of the Renaissance, especially as it expressed itself in Italy has been reproduced here. The sense of blithe, gay freedom, the genius of the joy of living, the protest against gloom and somber thought is expressed in form and color. The whole place sings with gladness and care-free serenity. That is what the Renaissance means and no thing more fitting could have been devised for a place where thousands go in quest of laughter and song. This spirit of joy greets one as he enters the vestibule, it grips him as he passes into the foyer and bursts upon him in the stream of soft light and subdued color as he finds himself in the theater proper. The walls of the vestibule have been treated in metallic effects finished in soft green mosaic glaze and same scheme carried out in a higher key in the green and ivory of the ceilings with the heavy gold cornices and the Renaissance torches with their crystal globes.

Boxes Elegantly Furnished.

The foyer with its exquisite lights, its heavy rich gold ornamentation, the blue and ivory walls and deeper blue carpets is full of the promise of gaiety that lies behind the gilded arches. As for the massive doors fashioned of bars of thick gold across their heavy plate glass and great laurel wreaths wrought out in burnished gold, they form one of the most striking details that has been added to make up this elegant interior.

These swinging doors lead to the boxes which it is safe to say are unsurpassed for beauty of furnishing anywhere in any playhouse in the country. The daintily designed chairs made on an old, renaissance model are of heavy gilt, the hangings, of thick Italian brocatelle are caught back with cable-like cords of blue silk finished with mammoth tassels.

In the mezzanine boxes, the hangings are a deeper velvet – deeper than the very light tone of the domed ceiling, not so deep as the low keyed blue of the carpet.

New Drop Curtain.

Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense.”

Here are the two pictures that were included with the article:

Photograph of the Temple Theatre interior, published in the “Detroit Free Press”, July 26, 1908, page 7

To be continued…

Tales from a Scenic Artist and Scholar. Part 603 – Elk’s Temple Theatre Drop Curtain, 1908

Part 603: Elk’s Temple Theatre Drop Curtain, 1908

Sosman & Moses provided a drop curtain for the new Temple Theatre in Detroit, Michigan, during 1908. It was part of an extensive renovation that included a new themed décor, inspired by the Italian Renaissance.

The Elks Temple and Temple Theatre opened on Dec. 23, 1901. The entertainment complex originally hosted the Wonderland Theatre Company and curiosity museum of oddities.

The building was designed by architect John Scott, with the 1500-seat theater being designed by Col. J.M. Wood. The building was located immediately next door to the Detroit opera house, on the north side of Monroe Street in the Campus Martius area.

Postcard of Campus Martius area in Detroit. The Temple Theatre is on the far right side, next to the white Detroit Opera House

Postcard of Campus Martius are in Detroit, Michigan, ca. 1909. The Temple Theatre is the red building connected to the white building (Detroit Opera House).

Postcard of Temple Theater next to Detroit Opera House

In 1908, the Temple Theatre closed for three weeks during July to complete the renovation of the theater space. On July 2, 1908, the “Detroit Free Press” described the imminent renovation plans (page 7):

“The Temple theater will close at the end of the week to permit decorators to transform the interior. The work will take three weeks, artists working in two shifts, night and day. When the theater is thrown open to the public, Monday afternoon, July 27, the many patrons will marvel at the transformation. It is said that the decorations, with carpets, tapestries, drop curtain and incidentals will cost in the neighborhood of $20,000.

“The entire decorations will be in the Italian Renaissance period, and William Wright company has guaranteed Manager J. H. Moore the richest vaudeville theater interior in this country. The ceilings and cornice work will be in light Italian blue and ivory, this scheme being carried throughout. The proscenium boxes will be draped with rich brocatelle hangings of light blue, with heavy cords and tassels, and fine old Roman gold chairs will replace the mahogany ones now in use.

Artists and designers have been at work on the preliminary plans for the last three months, and all that is left now is to complete the actual work. The carpets have been made from a special design by the decorators, and Sosman & Landis, the scene painters of Chicago, are in consultation with the William Wright artists carry out in the new drop curtain, to cost $1,000, the color scheme of the auditorium.

“The double baize doors, leading from the foyer to the right proscenium boxes will be replaced with Roman gilt and gold plate glass doors, with gold columns. New and beautiful electrical effects will be seen in the ceiling of the foyer.

“On account of the reopening of the Temple falling the revival of the famous Blue Ribbon meeting in Detroit, the bill of vaudeville for that week will be designated the “Blue Ribbon” bill. It will contain the names of artists, not the least of whom will be Loie Fuller, the celebrated fire dancer.

The Temple theater has not been closed, summer or winter, since it was thrown open to the pubic eight years ago. The many hundreds of patrons who have reserved their seats throughout the seasons will call for them during the week preceding the opening when the regular sale will go into effect.”

Interior of the Temple Theatre in Detroit, ca. 1905

The “Detroit Free Press” described the new drop curtain on July 26, 1908:

“Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense” (page 7).

Temple Theatre in Detroit with stage scenery. ca. 1905.

To be continued…

Tales from a Scenic Artist and Scholar. Part 593 – The Wheeling Scottish Rite, 1908

Part 593: The Wheeling Scottish Rite, 1908

For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.

*Scottish Rite Cathedral in Wheeling, West Virginia, that had scenery produced by Sosman & Landis in 1908. This building was destroyed by fire in 1915.*

The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).

*The auditorium of the Wheeling Scottish Rite, pictured after a devastating fire during 1915.*

Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:

“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)

The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.

*Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The 1916 auditorium. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The bowling alley. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Scottish Rite room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Ladies Room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

*The Blue Lodge room. Fold-out postcard of the 1916 Scottish Rite in Wheeling, West Virginia, recently listed in an online auction.*

It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.

The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”

Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.

*The 1916 drop curtain at the Wheeling Scottish Rite.*

*Yankton Scottish Rite drop curtain delivered in 1910 by Sosman & Landis is similar to the one delivered by Toomey & Volland to the Scottish Rite in Wheeling, West Virginia, during 1908.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 592 – The Approach to Jerusalem

Part 592: The Approach to Jerusalem

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I began with the Sosman & Landis scenic design for “Darius Palace” yesterday. Today, I am looking at the “Approach to Jerusalem” design, also titled the “Road to Jerusalem,” by some scenic studios.

Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Backdrop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Cut drop. Sosman & Landis design for the approach to Jerusalem. Holak Collection, Performing Arts Archives, University of Minnesota.

Moses’ statement suggests that he found these two specific compositions interesting to paint. This is a consistent sentiment, as throughout his memoirs Moses mentions that Masonic scenery was enjoyable to work on due to the variety. It may also imply that the standard design used for past installations changed and was now more interesting. For example, in 1908 the Darius Palace scene design took on a new look when the composition shifted from vibrant colors, to a classical ivory interior with colorful garlands.

Sosman and Landis design for Darius Palace in 1898.

Sosman & Landis design for Darius Palace in 1914

The approach to Jerusalem was a fairly straightforward design that included a cut drop and backdrop. The cut drop depicted the beginning of a dirt road that continued into the distance toward a walled city. This particular cut drop was able to be used for multiple Scottish Rite degrees, not with just the Jerusalem backdrop. The design was generic enough to be pair with not only an ancient city, but also a variety of other exterior backdrops.

Design for 16th degree approach to Jerusalem by Thomas G. Moses, 1931.

The beauty of Scottish Rite stage designs is their versatility, with many being relatively generic compositions that could span continents and eras. Unfortunately, many Scottish Rite stage crews and degree directors do not understand that there are many more compositions that can be created beyond the specific shipping label located on the stage right side. For example, the cut drop for the approach to Jerusalem was also paired with the wood drop. Instead of a road to Jerusalem, it became a path into the forest or to a distant medieval castle. This shifted the setting from a biblical one to a medieval one. Just as there were certain masking drops to accompany many scenes – drapery, wood, rough cut stone, or classical – there were many cut drops that would alter the stage setting.

I have noticed that over time, there were certain stage designs for Scottish Rite degree production that “evolved,” while others remained cemented in the past. I am not simply suggesting that the Northern Masonic Jurisdiction of the Scottish Rite altered its stage settings for specific degrees more frequently than the Southern Jurisdiction. Although this is true, I believe that there is much more to Moses’ statement. The 1908 the scenic interpretation for the two sixteenth degree settings “evolved,” breaking from past designs.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Wichita, Kansas, 1898 This setting is now at the Salina Scottish Rite.

Becker Studios approach to Jerusalem for the Scottish Rite in Moline, Illinois, 1930.

In some cases, scenic studios unified the Scottish Rite degree work and established a standard expectation for every Valley throughout the United States. In the nineteenth century, many of the theatrical interpretations for degree work on the Scottish Rite stage were similar. Both the Southern Jurisdiction and Northern Jurisdiction purchased similar settings for their respective degree productions. During the first decade of the twentieth century, this began to change.

To place the production of Scottish Rite scenery in context, we also need to look at the studio artists at Sosman & Landis during that time. Often a variety of scenic artists contributed to the production of new Scottish Rite scenery collection. In scenic studios during the early twentieth century, many of the scenic artists specialized in a particular genre – draperies, exteriors, interiors, etc. This was a shift from the previous generations of scenic artists – it was implemented for efficiency, increasing the overall speed of production. This also makes sense from an efficiency standpoint; the studio would want and artist familiar with the scene to do the work, one who had painted it before. Moses was known for his exterior woodland scenes, however, he was trained as a scenic artist during a period in American history when theatre worked necessitated that itinerant artists be equally skilled in all genres.

Keep in mind that in 1908, Moses had been working as a scenic artist for 44 years. His skill at painting landscapes was well-known and sought after, but he could also paint draperies, exteriors, ornament and figures. It would certainly make sense that he painted both the Darius Palace and the approach to Jerusalem drops for Wheeling. The approach to Jerusalem was a picturesque landscape with a road winding to a city in the distance. The palace of King Darius was often decorated with floral garlands that held dozens of roses.

Detail of a rose in a floral garland from Darius Palace, painted by Thomas G. Moses in 1909.

It is relatively easy to identify individual artists who produced certain settings for Scottish Rite scenery collections. Although they may currently remain nameless, their paint application is like a signature, and a specific artist can be traced from one collection to another; it just takes time and energy to make the identification. It is obvious when a particular setting is produced by a different hand at Sosman & Landis. I have tracked the painting techniques for various scenes from one Scottish Rite to another. The approach to Jerusalem provides an ideal opportunity to examine aesthetic shifts from 1896 to 1914.

Almost identical Sosman & Landis designs were produced for the Scottish Rite in Little Rock, Arkansas, in 1896 and Wichita, Kansas, in 1898. A similar design was again produced in 1914, for the Scottish Rite in Tucson, Arizona. Comparing and contrasting these designs provides an ideal opportunity to examine shifts in composition, artistic interpretation, predominant colors, and scenic art techniques.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Little Rock, Arkansas, 1896. This setting is now at the Pasadena Scottish Rite.

Sosman & Landis approach to Jerusalem for the Scottish Rite in Tucson, Arizona, 1914.

To be continued…

Tales from a Scenic Artist and Scholar. Part 590 – The Cort Theatre in Chicago

Part 590: The Cort Theatre in Chicago

In 1908, Thomas G. Moses write, “I did several shows for H. H. Frazee.” At this time, Harry H. Frazee Harry H. Frazee was involved in the construction of the Cort Theatre in Chicago. Frazee’s later success. Seattle architect Edwin Walker Houghton designed Chicago’s Cort Theatre as a counterpart to his Seattle-based version. The theater was located at 126-132 North Dearborn Street.

The opening show for the Cort Theatre, from the “Chicago Tribune,” 23 Oct. 1909, page 11

Looking at the namesake for Frazee’s Chicago theater, John Cort, provides some context to Frazee’s tale. Born in New York, Cort started his career as part of a comedy duo called “Cort and Murphy.” Cort briefly managed a theatre in Cairo, Illinois, before heading west to Seattle, Washington, where he managed the Standard Theater. Cort was considered one of the pioneers for theater circuits under Cort’s management. Cort booked the same act successively into multiple cities, making it worthwhile for an acting company or any performance troupe to tour to remote locations. By 1903, Cort’s circuit controlled 37 theaters throughout the American West. This allowed him to compete with some success against the Eastern entertainment establishment. He even signed an agreement with Marcus Klaw and Abraham Erlanger who were leading booking agents and Cort’s theatres became part of the Klaw and Erlanger Circuit.

However, Klaw and Erlanger’s power continued to spread, negatively impacting many other theatre circuit owners such as that ran by Cort. By 1910, Cort helped organize the Independent National Theatre Owner’s Association. This was a group of circuits that attempted a break with the New York-based theatre syndicates, such as Klaw and Erlanger. They allied with the independent Shubert Organization and eventually forced many theatre that were controlled by eastern syndicates to book other productions. In retaliation for Cort’s participation with this movement, Klaw and Erlanger backed the construction of Seattle’s Metropolitan Theatre. In turn, Cort headed to New York where he became a notable producer and manager. Frazee would follow Cort to New York, constructing another theater in 1913. Designed by architect Henry Beaumont Herts in 1912, Frazee’s new theatre was named for Longacre Square, the original name for Times Square. The Longacre’s first show was a production of the William Hurlbut–Frances Whitehouse comedy Are You a Crook?, which opened on May 1, 1913.

Moses also painted scenery for Cort’s Seattle Theatre, twenty years prior to the construction of Cort Theatre in Chicago. In 1888, Moses traveled to Seattle where he closed a deal with Cort (ca. 1861– November 17, 1929). The scenery was painted in Chicago and shipped to Cort in Seattle. Frazee worked closely with John Cort during the planning and construction of Chicago’s Cort Theatre. On the books in Chicago for the Cort Theater, Cort was listed as president of the firm, with H. H. Frazee as the vice president and U. J. Herrmann as both the secretary and treasurer. Cort was a key factor in Frazee’s success.

The planning began for the Cort Theatre began in 1907, with its official opening on October 25, 1909.

In 1910, the Cort Theatre in Chicago had a seating capacity of 1,344. Admission prices ranged from $1.50-$2.00 in the orchestra to 50c. and 75c. in the gallery. The proscenium measured 38 feet wide by 33 feet high. The depth from the footlights to the back wall was 24 feet and the distance from the curtain line to the footlights was 1 foot. The height to the rigging loft was 69 feet and the height to the fly gallery was 36 feet. The depth under the stage floor was 12 feet.

The Cort Theatre in Chicago with painted steel fire curtain

Sadly, like many other theaters, it was razed in the name of progress. The Cort Theatre was demolished in 1964 to make way for a new thirty-one-story building in 1966 – the Richard J. Daley Center.

To be continued…

Tales from a Scenic Artist and Scholar. Part 589 – Thomas G. Moses and H. H. Frazee

Part 589: Thomas G. Moses and H. H. Frazee

In 1908, Thomas G. Moses write, “I did several shows for H. H. Frazee.”

Harry Herbert Frazee (1880-1929) was a producer, director, and theatre agent. He grew up Peoria, Illinois, starting his theatre career at the age of sixteen. Frazee worked in the Peoria Theater’s box office and as an usher, but soon left to travel the West as an advance agent with a small touring company. He then toured the country with a small musical show that primarily did one-night stands. Frazee began his career as a producer when he staged “Uncle Josh Perkins,” a show was an popular success. Over the next five years he produced several other musical comedies that were immediate hits; these touring productions would create the foundation for Frazee’s immense fortune.

H. H. Frazee’s first big success, “Uncle Josh Perkins.” Advertisement from the “Brazil Daily Times,” 21 March 1908, page 8

By 1907, Frazee was involved with planning a new theatre in Chicago – the Cort Theatre. It was around this same time that he hired Moses, representing Sosman & Landis. to create scenery for various productions, such as the “Isle of Spice” and “A Knight for a Day.” Other Frazee touring productions in 1908 included “Facing the Music,” “The Flower of the Ranch,” “The Royal Chef,” “Uncle Josh Perkins,” and “Piquant Musical Mixture,” and “Yankee Regent.” The amount of newspaper ads for shows credited to Frazee is staggering during the period from 1907-1908.

A scene from “The Isle of Spice” from the “Leader Telegram,” (Eau Claire, WI), 11 August 1907, page 7

From the “Los Angeles Times,” 8 Nov 1908, page 27

From the “Rosenburg Review,” 3 Oct 1907, page 4.

After enjoying immense success as a Chicago producer, Frazee built the Longacre Theatre in New York during 1913. Early productions at his eastern theater included Eugene Walter’s “Fine Feathers,” the musical “Adele,” and “A Pair of Sixes.” His most spectacular success, however, was “No, No, Nanette,” first seen in New York during 1925. Although a failure at first, Frazee acted against all advice and revised the show, ultimately causing it to become a show that made millions. Frazee’s last theatrical production was “Yes, Yes, Yvette” during 1927. Unfortunately, it was not as successful as Frazee hoped, resulting in heavy financial losses.

Frazee was a spectacular figure; not only in the theatre world, but also in the sports world. He is most recognized as the baseball manager who sold Babe Ruth to the New York Yankees in 1920, effectively crippling the Red Sox for decades and beginning the team’s “curse.” Frazee’s connection with baseball began when he purchased the Boston Red Sox for $500,000 in 1916, immediately after their World Series victory.

The team achieved another world championship under Frazee’s ownership in 1918. However, this success did not last for either the team or Frazee. Frazee soon sold Carl Mays, “the submarine pitcher,” to the Yankees, as well as other baseball stars for high prices.

His decisions were not well received and ultimately resulted in litigation with Byron Bancroft “Ban” Johnson, the president of the American League. In addition to legal battles, Frazee was engaged in another war, as he was the first American League owner who had not been “hand-picked” by Johnson. Unlike many others, he was unwilling to do Johnson’s bidding, causing a series of backlashes against the theatre mogul. Frazee’s feud with Johnson continued for years, and garnered ill-will toward Frazee in the region. Regardless, he remained the owner of the Red Sox until August 1923. There is much more to this story, but I am not going onto it today. There are two great books that describe the times: “Harry Frazee, Ban Johnson and the Feud that Nearly Destroyed the American League” and “The Selling of the Babe: The Deal That Changed Baseball and Created a Legend.” Here is a pretty good link to the history of the Boston Red Sox ownership: http://boston.redsox.mlb.com/bos/fenwaypark100/own.jsp?year=1916_1923

In 1929, Frazee passed away at the age of 48 years old. His obituaries reported, “The high spots of Mr. Frazee’s career were his ownership of the Boston Red Sox at the time they won the world championship, and his production of ‘No, No, Nanette.’ For years he seemed to possess the golden touch, but recently was reported among his associates that his fortune had dwindled. His more recent ventures were less fortunate and he was always a generous spender.”

New York’s Mayor James J. Walker was a close friend of Frazee who gave out the following tribute to Frazee in 1929:

“Harry Frazee was one of the most popular figures in the theatrical and baseball world. I have known him for a great many years. His was a unique character – unique in his friendship for others – and he was immensely popular with everyone who knew him. He was a man of great energy, great mental ability and was greatly respected in the business and baseball world.”

Toward the end, Frazee suffered from Bright’s disease. It was after a recuperative trip to Europe that he relapsed and slipped into a coma. When he quickly passed away, the news shocked both the entertainment and sports worlds.

One of H. H. Frazee’s many obituary notices in 1929

To be continued…