Midwestern States Trips – Page 8

Travels of a Scenic Artist and Scholar: Arriving in Louisville, March 19, 2019

I left Genoa, Illinois, at 5:45 AM on Tuesday, March 19. My goal was to arrive at the Louisville Scottish Rite between noon and 1PM. The drive was pretty uneventful, but there were many places that I wished I had stopped along the way; there is just never enough time. The first was the exit that would have brought me to Thomas G. Moses’ hometown of Sterling, Illinois. The second was the Crump Theatre in Columbus, Indiana. I could not take the time to stop, as I knew that my time was really limited at the Louisville Scottish Rite. My plan was to evaluate the entire collection on Wednesday. Today was simply scoping out the collection, rigging and facility with Rick. Also, this was the only day Rick could visit since the “New World Rigging Symposium” would prevent him from visiting Wednesday.

I contacted my Scottish Rite host Randolph. The intent was to visit for two hours while they were still open. Randolph had scheduled one of the Masonic stagehands to be there – Jim. Jim had worked the stage for many years and was an absolute wealth of information at 75 years old. Fortunately for me, Jim gave me their stage book that provided a little guidance in terms of inventory and line order. This is an unusual gesture, as I often have to prove how much I know before that stage book is passed along.

The Louisville Scottish Rite counterweight system

My visit on Tuesday was primarily about the rigging and Rick’s findings. Rick had a wonderful opportunity to fully explain the significance of this double purchase system to the stewards of this stage. He described that the 1930 system, original to the building, predated the Clancy patent several years later. As interested as I was in the unique aspects of the system I was more anxious to see a few scenes while he was in the flies. They brought in the first line and I began to catalogue information about this 4^th degree interior setting.

My notes were placed within the historical context of the Louisville Scottish Rite that I have explored during the previous week. It was apparent that the majority of the scenery dated from 1910. Toomey & Volland business records noted two scenery deliveries – 1910 and 1951. The drops depicted standard designs and painting techniques characteristic of the studio.

Unfortunately, much of the scenery was restored at one point, with methods that may not be advantageous for the collection’s future. I understand the choices of those who repaired the scene, but wonder how these will age. Most scenes were backed with a type of gauze that appeared plastic, although it may have been the adhesive. The edges of cut scenes were backed with flexible foam core; this I had encountered in Cheyenne. For a new scene, ephemeral in nature, it is a brilliant idea. For historic scenery, I have to wonder how the foam will interact with the fragile fabric in the long run. The painted surface had also been sealed, resulting in a slight sheen. I have no idea what was used for this, as it had a plastic feel; almost reminding me of a product that I used on interactive exhibits for museum projects – Aquaplastic.

Finally, the netting was replaced with a plastic ½” square version; hot melt glued to the back. As Alessia Carpoca and I looked at this alteration near the end of the day, she asked the same question that has gone through my mind multiple times when seeing hot melt glued netting: “How could anyone be so stupid?” It is the idea that the drops of hot glue will never come of the back without damaging the fabric. The hot glue embeds itself in the weave and is permanently fixed. Even steam and heat only partially removed this product, as I have tried in the past. The process completely destroys the painted surface during its removal.

Meanwhile, Rick was occupied doing another good deed (as usual); helping balance some line sets to make them easier to move. He also took the time to thoroughly explain how the system worked and all of the various components. As previously mentioned, the Scottish Rite Reunion was scheduled to start in four days and some of the lines were difficult to pull.

For the most part, we try to leave any stage better than we found it, even if this means simply explaining a system and scenery for future clarity. In Scottish Rite theaters, the Masonic stagehands are often unfamiliar with the history of both. It is not unusual to find something amiss in these systems that require a simple tweak. After all, the systems have often not been maintained since their installation.

After Rick was done with his talk and the weight adjustment, we headed up to the grid. This was one of the easiest ascents ever to access the space above the stage.

Our journey to the grid at the Louisville Scottish Rite

The Louisville Scottish Rite counterweight system above the stage

We went up steps and followed boards above the auditorium space. I kept an eye out for trash, as treasures were often left in these attic spaces. Sure enough, there was a Mazda Edison box! We balanced our way to a small door, with Jim taking quick grip on me to make sure I would not fall. My sense of mortality has exponentially increased over the years, so I don’t wander to close to the edges anymore. However, I wasn’t going to miss an opportunity accompanying Rick and hearing his observations. It is always fun to be on site with Rick, as he so thoroughly explains what I am looking at and the nuances of each system. It is like the rigging class that does not end.

We left the Scottish Rite late afternoon, and I checked into the Hardy House (my Airbnb for the conference). Just about the time I was settling in and deciding to open a can of soup, I received a text from Randolph. He notified me that the Louisville Scottish Rite librarian and archivist would be contacting me soon, offering me the opportunity to visit the Scottish Rite library that evening. Regardless of my fatigue, this was not an opportunity that I would miss. So within the hour, I was waiting outside for my ride to head back to the Louisville Scottish Rite. It was certainly worth it as I spent the next few hours perusing books and chatting with Richard.

Like many, the library was a fraction of what it had once held. Books were missing and the contents somewhat sparse. However, there were certainly some gems left; absolutely priceless publications that would contribute to my ongoing research about visual sources used by scenic studios to produce Scottish Rite scenery. My biggest surprise was a Cerneau book with many recognizable compositions that were later incorporated into the Scottish Rite scenic designs.

To be continued…

Travels of a Scenic Artist and Scholar. Meeting Brian in Elgin, Illinois, March 2019

I have noticed that you meet people in your life who continue to reappear and shape your future, often over the occur of a decade or more. They signal significant moments that alter your path and fuel your passion, while providing information that would otherwise remain lost. One of my main reasons to drive to Louisville was to see Brian Traynor, a fellow scenic artist, in Chicago. Without Brian, I would not be on the trajectory I am now.

Brian and I first made contact while I was researching information about Chicago scenic artists during the mid-1990s. This was for Lance Brockman’s “Theatre of the Fraternity” exhibit at the Weisman Art Museum in 1996. I cold-called Brian on the phone about 1995 and we chatted about scenic studios and individual artists in the Chicago area. From the first moment we spoke, there was an instant connection, one that has exponentially grown over the years. Our conversations have always been like rapid ping pong matches with facts, figures and personalities bouncing back and forth. He always knows exactly what I am talking about or referring to, whether it is projects, people, or painting techniques.

We next connected when I was designing and writing the text for the University of Minnesota Scenic Collections Database. Again, I contacted Brian to verify information and sources. We were both a little older and had individual gathered even more knowledge and information about the Chicago artists.

The third time was when I was working on a restoration project and Brian contacted me with news that a scenery collection was destined for the dumpster. This was the Peoria Scottish Rite and we both tried in vane to find a University or facility willing to take it at the time, or even temporarily store it. This was when we decided that I should simply rent a truck and pick it up, using it as an instructional tool.

Then Brian began the transfer some of the artifacts that he had housed for years. Fortunately, Brian salvaged a plethora of information and artifacts that would have otherwise been lost forever. Studio records, stage designs, historic pounces, drawings, photographs, paintings, dry pigment, aniline dye, hide glue, and much more appeared on my door step over the years; all from Brian. We both recognized that our homes were becoming temporary storage facilities, until we could identify permanent homes for the objects. Somehow along the way, we both became foster homes for scenic art artifacts awaiting a permanent collection.

Fast forward to last Monday. My stop this time was to return a few scenic studio sales catalogues and pick up a few more.

One image from ACME and Service Studios sales books.

Back of one image from ACME and Service Studios sales books.

Elgin, Illinois, became our designated meeting space as it was close to where I was spending the night with friends. This time, I also wanted to officially interview Brian about his personal history and career as a professional scenic artist and historian. He has become part of the legacy to preserve our history; a jumbled tale swirling around James Maronek, John Rothgeb, Lance Brockman and many others.

Once again, we chatted over lunch and left with our respective bundles of historic artifacts. Our shared enthusiasm provides me with the necessary fuel to keep plugging along with my own research and journey. That being said, we have big plans ahead of us.

To be continued…

Travels of a Scenic Artist and Scholar. Circus World Museum, March 18, 2019

After stopping by the Al Ringling Theater and Baraboo Lodge No. 34, I drove over to the Circus World Museum on Monday, March 18. My intention was to briefly meet with the curator and share my information pertaining to the grand circus spectacles produced by Sosman & Landis from 1905 to 1915.

The gal behind the desk at the museum told me to see the curator Pete. He was currently working in their library and archives across the river on an upcoming exhibit. This building was a very small and unassuming place, yet the walls were lined with posters and circus memorabilia. We chatted for quite a while, with Pete deciding that a copy of my book would be beneficial his patrons as it placed the Ringling spectacles with in a larger context and identified a major theatrical supplier to Al Ringling. He then suggested that I venture back over to the museum to look at a few pieces from the grand spectacle “Cinderella” in the museum. He called over to make sure that I could examine the setting without any difficulty and I realized that more time should have been set aside for my Baraboo side trip.

Circus World Museum with backing from the Cinderella grand circus spectacle in the background.

I whizzed through the museum and easily spotted the scenery. It was awe-inspiring to look at the painting. It depicted all of the standard trademarks for a Sosman & Landis manufacture. I especially appreciated the foil paper-backed strips to accentuate the gold capitals. What was most interesting was the heavy-duty canvas, flat seams, and basic construction that mirrored the floor cloths produced by the company. Drop construction is another area where I am slowly tucking away information.

From 1905 until 1915, Thomas G. Moses completed several designs for grand circus spectacles. The first mention of his designing one of Al Ringling’s spectacles was in 1905. Fast forward to 1912 when Moses mentioned another visit to Baraboo, Wisconsin, during the Ringling Brothers’ off-season. Moses wrote, “I went to Baraboo in the meantime to see Ringling Brothers and close for another big spectacle. Mr. Al Ringling took me through the winter quarters of the animals which was also very interesting. Feeding time for the lions, tigers and all the cat family was a noisy time. Watching the training for the elephants was also very interesting. The immense chain and derricks they have to use to teach the elephants to stand on their heads was strong enough to lift a battleship. A great deal of care is given to all the animals, much more than is given to the men that attend the animals. The Ringlings have their own car shop and paint shops, and everything is taken care of here except scenery and wardrobe. They are very busy getting ready for the next season, making contracts for all supplies at every town they visit, and they certainly have some system.”

In spring of 1912, Moses caught up with the circus in his hometown of Sterling, Illinois, as he needed to collect the final payment for the season’s production. He attended the show and wrote, “Went to Sterling to catch Ringling to collect $1,200.00. As went to the tent to find Al Ringling, I discovered everyone watching a fire – a stable at least four blocks away. A spark was blown towards the tent, the top of which is prepared with parafine to make it water-proof. It soon ignited from the sparks and in less than thirty minutes the big tent was destroyed. The rest of the tents were saved. It was mighty fortunate there were no people in the tent. Some of the animals in another tent started some noise when the smelled the smoke, but they were soon quieted. I sneaked away without making myself known. There was no money for me, that I guessed.”

Moses eventually collected the payment during 1912, and by the end of the year wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” They were contracted to provide the scenery for another production in 1913. Al Ringling liked the work produced at Sosman & Landis studio and its last president Thomas G. Moses. Winter was the time to plan.

Both equipment and animals were cared for from November until April of each year – their off-season. Baraboo became home to the exotic and their caretakers. In 1913, 117 Ringling Brothers’ Circus employees worked in Baraboo during the winter months. The staff included the following positions: Caring for work horses (23), caring for show horses (7), caring for menagerie animals (8), elephant caretakers (10), blacksmiths (5), railcar repair (16), paint shop (16), harness shop )3), wagon and repair shop (9), wardrobe (5), hotel (12), watchmen (2), and office (1). As the circus employed approximately 1200 people during the season, where did the remainder of employees winter? Some acts sought contracts in warmer climates, returning to Wisconsin in April for the new tour. Some workmen found work in nearby lumber camps and spent the winter in less than ideal conditions. A few took the winter months as an opportunity for rest and relaxation

It was at the winter quarters that the Ringling brothers planned for their upcoming season. Shows were chosen, costumes assembled and scenery designed for elaborate spectacles. Winter was a time for preparation, training and hard labor. There was time available to plan and rehearse the animals for another season. A team of writers wrote news stories for upcoming shoes that would tour the country. Circus wagons were repaired and repainted. Animals were exercised both indoors and outdoors. Everyone had a specific project to accomplish all year long.

Baraboo remained the winter quarters for the Ringling Brothers’ circus from 1886 to 1918. At that time the circus moved to a new location in Connecticut; it had been the Ringling Brothers and Barnum & Bailey Combined Shows since 1907 and began to recoup at the old Barnum & Bailey winter quarters.

It was not until 1954 that John M. Kelly, a personal attorney for the Ringlings, incorporated the Circus World Museum as a historical and educational facility. He had worked for the Ringlings for more than three decades. The Circus Museum opened to the public July 1, 1959. The website reports that “The museum’s collection of circus artifacts is perhaps the largest in the world. It includes over 210 original wagons and vehicles once used by American, English and Irish circuses. It houses an exceptional collection of circus ads and posters. Over 9,500 multi-colored circus posters range in size from half-sheets to an 80-sheet Buffalo Bill Wild West poster which measures 9’ high and 70’ long. Thousands of journals, manuscripts and business records are available as well as original fine art oil paintings, hand bills, heralds, programs, artifacts of circus performers and a collection of rare photographs and negatives.” I have yet to spend a significant amount of time in their archives. Here is the link to their website: http://www.circusworldbaraboo.org/

To be continued…

Travels of a Scenic Artist and Scholar. Baraboo, Wisconsin, March 18, 2019

There is always the dilemma of whether I should drive or fly to USITT. If I fly, I miss many historic theaters that I could stop at along the way. However, that takes time, time that I often don’t have to spare. Two things prompted my driving to Louisville this year – Baraboo and Brian. In Baraboo, it was the Al Ringling Theatre (1915) and the Circus World museum. In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” David Hunt was in charge of New York Studios, the eastern affiliate of Sosman & Landis.

Almost a year ago, I covered in detail Thomas G. Moses’ work for Al Ringling. Moses designed and supervised the painting of six grand circus spectacles. These were events for the big top and attached to the opening parade of the circus. These huge pageants that were solely accompanied by movement and music. The Ringling Brothers found favor with Moses during the first two decades of the 20^th century, so it was Sosman & Landis who would delivered the scenery to Al’s theatre in 1915.

My late luncheon appointment with Brian was in Elgin, Illinois, at 1:45PM and I had left Minneapolis at 5:45AM; so I had a little time to spare. Fortunately the driving went well and I found myself pulling into Baraboo with a little more than 90 minutes to document what I could. I was a woman on a mission. Unfortunately the Theatre is closed on Mondays, so I was only able to see the outside. Kicking myself, as I could have called ahead, I venture to the second of three stops in Baraboo. Here is a recap on Al Ringling’s Theatre. Here is a little information about the theatre.

In 1915, Moses wrote, “The new theatre we did at Baraboo for Al Ringling was a good contract at $2,600.00. I went up to open and found a beautiful theatre, very unique in design, fifty years ahead of the town. Poor Al Ringling died soon after this.”

The Janesville Gazette reported, “Sosman & Landis company of Chicago did the scenic painting in this new theatre” (20 Nov. 1915, page 20). On April 7 of that same year, Joseph S. Sosman passed away at the age of 70, leaving a widow and two sons (Arthur and Fred). Thomas Moses became the president of Sosman & Landis, with Arthur Sosman as vice-president. The Ringling Theatre was one of Moses’ flagship projects as the new studio president.

Drop curtain by Sosman & Landis studio for Al Ringling’s Theatre

The Ringling Theatre opened its doors in November 1915 and has been operating continuously ever since. Al Ringling hired the architectural firm of Rapp and Rapp to design a theater based on the Orpheum Theatre built in Champaign, Illinois in 1914. The Janesville Daily Gazette reported, “Theatrical men, scenic painters, canvas makers and many prominent citizens from Chicago and other towns, all of whom were bound for Baraboo to do honor to a man who had the courage to build in that city one of the finest, if not the finest, playhouse in America, Mr. Al Ringling. (20 Nov. 1915, page 20). There were 844 seats, with seventeen boxes, each containing six seats. The stage was 33’-6” deep, 60’ wide and 46’ high. The massive fire curtain of asbestos measured 24’ high by 40’ wide, weighing 750 pounds.

As my hope to see the front curtain was a bust, I decided to visit the local Masonic Lodge, Baraboo No. 34. I knew it wouldn’t be the original building, but want to see the Ringling Brothers’ Masonic aprons. Score! Three men were working on the building, as it had suffered some water damage. All of the Ringling brothers and their father were Masons in Baraboo and the history is quite interesting. That is the tale for tomorrow.

To be continued…

Travels of a Scenic Artist and Scholar: The Joplin Scottish Rite, July 3

The Joplin Scottish Rite, July 3

We returned to Minnesota on July 2 at midnight after the long drive from Joplin, Missouri. Over the course of eighteen days, we visited ten historic theaters and I was able to document historic scenery at seven. The trip was intended not only for research, but also for the marketing of our new company Historic Stage Services, LLC (www.historicstageservices.com)

In addition to the book release event at the Santa Fe Scottish Rite theater, I photographed and catalogued entire Scottish Rite scenery collections in Omaha, Nebraska; Hastings, Nebraska; Cheyenne, Wyoming; Salina, Kansas; and Joplin, Missouri. I also photographed historic scenery at the Atlas Theatre in Cheyenne and the Tabor Theatre in Leadville, Colorado. The Tabor was especially exciting as I dug through wings, borders and roll drops that had been stored since the turn of the twentieth century.

As we drove home, I began the laborious task of labeling thousands of photographs. It is at this point that I am able to identify defining characteristics of specific collections, especially when examining images of painted details. Then I go through each historic venue and construct the current inventory and how it has been altered, added to, or shifted over the past decades. As I went through my pictures, I was able compare compositional layout, painting techniques, color palettes, and drop construction for a variety of scenic studios. My trip provided me with the opportunity to closely examine the work of competing studios over the course of decades in a very short period of time. This allows the visual aesthetic and construction information to remain fresh in my mind.

I am in the depths of examining the Fabric Studio of Chicago and its link to Toomey & Volland of St. Louis, Sosman & Landis of Chicago, Kansas City Scenic Co., and the Great Western Stage Equipment Co. of Kansas City. My last stop at the Joplin Scottish Rite confirmed a few of my suspicions in regard to a shift in scenic studio practices and art during the 1920s. A younger generation took over the innovation in stage design and technology. Men, and in some cases women, ascended to the top of their profession and eclipsed the previous generation of scenic artists. This does not mean that they were better or worse, just different. A shift was occurring in the field of scenic art. Seasoned artists left their positions with the “old guard” of scenic studios and began to create their own new studios, causing old alliances to crumble. This also market the collapse of a unifying aesthetic for the stage. Gentlemanly agreements between studios during the first two decades of twentieth century ceased and new fabrics were introduced as an alternative for the common cotton sheeting of backdrops.

Painted detail at the Joplin Scottish Rite created by an older scenic artist in the traditional style.

Another example of a setting created in the traditional style of scenic art for the Joplin Scottish Rite.

At the Joplin Scottish Rite, it is apparent that some of the drops were created by an older scenic artist still working in the traditional style of scene painting, but the color palette shifts to the predominance of brighter colors. The use of horizontal seams for drop construction, jute webbing at the top and pipe pockets at the bottom began to appear across the country. This method of fabrication followed the construction of fabric draperies for the same venues.

In terms of netting, the individual drops of glue on knotted intersections were replaced with swathes of glue brushed along entire edges, forming a crusty perimeter that greatly reduced the necessary labor to create a cut drop. Similarly the painstaking placement of foils that allowed a scene to sparkle, or suggest a fiery reflection, begin to be replaced with a layer of metallic flakes and glitter-like product. This again saved the amount of later needed to create a similar effect.

Cut drop and backdrop at the Joplin Scottish Rite for the 18th degree.

Detail of the Hades cut drop in Joplin, Missouri. Note that foil strips are no longer used to suggest the fiery reflections of the underworld.

Paper-backed foil strips were attached to backdrops during the nineteenth and early-twentieth century to simulate fiery reflection and make the scene sparkle.

The Scottish Rite scenery in Joplin also depicts the use of spatter for a painted composition. Bright blue, mineral orange and other colors are spattered across the final painting. In some cases, the use of spatter subdues an earlier application of colors that are too bright to begin with, so another layer of paint must help recede into the background. In some of the Joplin scenery, spatter almost obliterates the detail, yet enforces depth in the painting.

A partial view of the leg drop and backdrop for the catacombs scene at the Joplin Scottish Rite. This scene is also titled “The Crypt” in some areas.

Detail of painted spatter on a backdrop at the Scottish Rite in Joplin, Missouri.

I regard these modern painting techniques that eventually shifted the evolution of scenic art with some bias; I prefer the older style. I associate traditional scenic art techniques with that of the Dusseldorf and Hudson River schools. There is a soft, but dramatic atmosphere that visually envelopes the painted composition. Although there are subtle differences in paint techniques, such as glazing or the opaque application of colors as I have previously examined, there is a uniformity of brush stroke and final aesthetic. The modern school of scenic art takes a subtle departure from this aesthetic. Not always visible from the audience, it becomes apparent as one approaches the scene. Both the traditional and modern fall apart into areas of separate color, as the painting should, there is a distinct difference to the educated eye.

Similar composition in painting by Thomas Kincaid, but distinctly different from the overall aesthetic of the Hudson River School artists

Here is the best parallel that I can think of, and it pertains to the work of fine art. If you take a landscape painting produced by a Hudson River School artist and compare it with the paintings of Thomas Kincaid (Painter of Light), you can see the shift. There is romanticism in each composition, an attempt to relay atmospheric conditions, a sense of beauty and an attention to detail. However, Kincaid’s paintings are distinctly contemporary. For me, they are slightly “off” and don’t capture what the nineteenth century artist conveyed to their audience.

This is what I see happening in the scenic studios during the 1920s, an approach that has its foundation in some traditional scenic art techniques, but the final product is slightly “off.” The modern scenic art compositions evolve in two distinct directions. One way is a final product that is too clean, crisp, and carefully blended; this is the direction of Hollywood and the creation of scenery for film settings. Beautiful techniques and lovely compositions, but a distinct departure from traditional stage painting. After all, it is creating scenic illusion for a new art form – one that needs greater detail for the camera and close-ups. The second direction is much less controlled. The technique isn’t quite there, so the composition is altered with layers of spatter over high contrast areas in order to unify the entire composition. This is not meant to say that either of these approaches is a lesser art form, but they are a distinct departure from a previous stage aesthetic.

Over the next week, I will start to compare various painting techniques and their characteristics before returning to the life and times of Thomas G. Moses in 1903. This helps me as I approach examining the “first golden age” of Scottish Rite scenery production. This is the surge that takes place just prior to WWI. The 1920s then usher in the “second golden age” of Scottish Rite scenery production before everything begins a slow descent.

To be continued…

Travels of a Scenic Artist and Scholar: The Joplin Scottish Rite, July 2

The Joplin Scottish Rite, July 2

I arrived at the Joplin Scottish Rite by 8:15am. We examined all of the backdrops over the next four hours, with Andrew and the Secretary Richard Lowery handling the lines. Richard worked tirelessly with my husband to raise and lower the lines while I catalogued each drop, photographed painted details, and set entire scenes. To show our appreciation, we took Richard out to lunch at a fabulous local restaurant – the Red Onion.

At the Joplin Scottish Rite, I was like a kid in a candy store, as I uncovered a new scenic studio stencil – The Fabric Studio.

*A Fabric Studio of Chicago stencil, placed on the backside of some Scottish Rite backdrops in Joplin, Missouri.*

*Another Fabric Studio of Chicago stencil, placed on the backside of some Scottish Rite backdrops in Joplin, Missouri.*

It will take many more hours to untangle the compilation of various installations, only some attributed to the Fabric Studio, after closely examining the backdrops in context. The majority of scenery contain a studio stamp for Fabric Studio of Chicago, located at 117 N. State, 4^th floor, Chicago, Illinois. However, the drops were not all produced at the same time or for the same venue. One distinguishing characteristic of many backdrops is the horizontal seams on octagonal-shaped sandwich bottom battens. They are a distinct departure from late-nineteenth century oval battens.

The earliest mention of the Fabric Studio that I have located to date is in 1921; the company was advertising for girls to help in the sewing room (Chicago Tribune, 27 August 1921, page 14). From all appearances, this was second generation scenic studio, like many that emerged during the twenties when scenic artists left the employ of the larger, companies to strike it out on their own. They began competing with the older studios and offering a new aesthetic. The Fabric Studio was a competitor to the Kansas City Scenic Co., of Kansas City. In 1922, the Wellington Daily News reported that two scenery salesman were competing for the contract of a new front curtain and the scenery for the new Memorial Auditorium project: E. L. Gossage of Kansas City Scenic Co. and W. S. Mayer of the Fabric Studios of Chicago (Wellington, Kansas, 25 August 1922, page 1). Gossage would later be the salesman for the Great Western Stage Equipment Company of Kansas City.

The Fabric Studio of Chicago is credited with the painted scenery for the 1922 Orpheum Theatre in Wichita, Kansas. The Wichita Eagle (3 September 1922, page 48) reported the Fabric Studio’s work as including the original asbestos curtain depicting a gold gauze curtain with an exterior garden scene, a Spanish market scene; a silk velour for the valance; a grand drapery; a silver gauze tableaux curtain; a picture sheet; “two exterior oleos and drops;” a complete conservatory set; and a complete Gothic set.

*Head artist for the Fabric Studio of Chicago – P. T. Blackburn, published in the “Daily Times” (Davenport 17 May 1922, page 10).*

The chief artist to the Fabric Studios of Chicago was P. T. Blackburn who worked mostly on the fine plushes, satins, and velours, such as the gold gauze front curtain and the silver gauze tableaux curtain for the Orpheum.

*The new Wichita Orpheum, from the “Wichita Beacon” (3 Sept, 1923, page 27)*

*The front gold gauze curtain produced by the Fabric Studio of Chicago for the Orpheum Theater in Wichita, Kansas.*

*A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

*Detail of painted fabric. A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

*A detail of the painted fabric. A scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and painted fabric.*

By 1949, Blackburn would become the head artist for Paramount Studios and a weekend resident of the San Jacinto mountain resort area (The Desert Sun, Palm Springs, California, 17 May 1949, page 4). In addition to scenic art, he and his department also developed new stage equipment and curtain tracks for scenery painted by Paramount artists.

This explains the exceptional hand-painted silk curtains in the practical opening of some Joplin Scottish Rite scenes. Blackburn was the head of the artistic staff for several stock companies over the years, including the Grand Players from Davenport, Iowa.Another artist on staff at the Fabric Studios was Max Schroeder, who specialized in landscapes. The Fabric Studio’s head installation expert was J. A. Bannon, credited as “an old timer in the show business and has installed scenery in theaters in nearly every city in the United States” (Wichita Daily Eagle, 3 September 1922, page 48).

There is more to report about this unique collection and its current condition, but that will be saved for tomorrow.

To be continued…

Travels of a Scenic Artist and Scholar: Saying Goodbye to Fort Scott on July 1

We left Wamego, Kansas, and headed to meet a friend in Fort Scott. Almost three years ago, I made the fateful trip with the CEO of Masonic Charities, the General Director of the Minnesota Masonic Heritage Center and a local Scottish Rite Mason. At that time, I was the Curatorial Director for all incoming acquisitions for the Minnesota Masonic Heritage Center and I was there to evaluate the Fort Scott Scottish Rite Collection, assessing its condition and determining whether it would survive the removal from its current home and transportation to Minnesota. The whole tale of my involvement with the Fort Scott scenery collection, prompted my writing of the story “Tales of a Scenic Artist and Scholar: Acquiring the Fort Scott Scenery Collection for the Minnesota Masonic Heritage Center.” My story evolved to solely focus on the scenic artist who painted the Fort Scott scenery collection – Thomas Gibbs Moses.

The Scottish Rite building still stands in Fort Scott, Kansas. It is no longer the home of the Scottish Rite, they now meet in Pittsburgh, Kansas

The Fort Scott Scottish Rite theater as it looked in 2015. This was before the building the scenery collection transferred to Minnesota.

The Fort Scott Scottish Rite counterweight system that once controlled the painted scenery by Thomas G. Moses. Photograph from 2015.

A painted detail from the brush of Thomas G. Moses for the Scottish Rite theater in Fort Scott, Kansas. Photograph from 2015 before the collection was moved to Minnesota

My involvement with the Fort Scott scenery ceased after its storage in the custom-made racks that I designed during the fall of 2015. My position was terminated upon the opening of the Minnesota Masonic Center and the museum team, Outhouse Productions (who helped design exhibits at the Minnesota Masonic Heritage Center) attempted to restore the collection with the help of their standard exhibit artist, Kimber Lawler. Sadly, the group had never restored any historic theatre scenery before and used hot melt glue to attach netting to the fragile fabric. They also cut many of the leg drops in half after flame-proofing everything; a death sentence to historic scenery. Furthermore they replaced all of the original wooden battens with pipe pockets, losing much of the personal notes written by Thomas Moses during the original installation.

When I first witnessed the “restored” drops hanging at the Minnesota Masonic Heritage Center, I was devastated to see the wrinkles, shiny surfaces from size that was too strong, and further deterioration after a botched restoration attempt by those who did not understand the proper handling of historic scenery. So, today was my day for a sense of closure and sharing the current status of the drops. It still distresses me that the Fort Scott Masons entrusted me to help preserve their history and I wasn’t ultimately able to help them. To both Fort Scott Masons and many Masons in my home state, the CEO of Masonic Charities identified me as the one who would restore the entire collection. Many Minnesota Masons at Grand Lodge this year still believed that I was part of the scenery restoration, as it was so firmly stated on numerous occasions.

However, today was the day that I could tell the tale of my dismissal, pass off a copy of my new book, and stop by the Fort Scott Scottish Rite building one more time. After a lovely lunch, a visit to the old fort, and hike along a prairie trail, I am ready to explore anther Scottish Rite collection – Joplin. We made it to Joplin by late afternoon and enjoyed some local barbeque. One more day enjoying the beauty of some Scottish Rite scenery that may still have a future.

To be continued…

Travels of a Scenic Artist and Scholar: The Salina Scottish Rite Stage, on June 30

The Salina Scottish Rite Stage, on June 30

The Masonic Center with Scottish Rite stage in Salina, Kansas

I am aware of two instances where Masonic buildings with historic stages were not sold, but almost given away. In the case of Fort Scott, the building was “sold” for $1. I learned yesterday that the Salina Masonic Temple was “sold” for $10. In both cases, there was an attempt to preserve the structure and adapt it to a current use for organizations that were not part of the Fraternity.

Exterior of Scottish Rite Building in Fort Scott, Kansas, 2015.

The Scottish Rite stage in Fort Scott, before the scenery collection was transported out of state.

It is easy to feel sympathy for the generations of Masons who poured their hearts, souls and finances into a building and organization that would suddenly evaporate before their eyes. In Fort Scott, all of the contents were sold at an auction for a total of $75,000, liquidating their assets that included a mummy, 200 swords, porcelain dishes, and hundreds of vintage props and costumes. The Fort Scott Scottish Rite has not ceased to exist, but now meets in a small facility in Pittsburgh, Kansas.

What I have started to understand about many of the Scottish Rite buildings is that during times of plenty, the Scottish Rite did not reinvest in their homes, completing the necessary maintenance and repairs. Over time, deferred maintenance took its toll on both the physical structure and the membership. In addition to poor choices in regard to the basic upkeep of the buildings, membership declined and the constant stream of income began to diminish.

At the beginning of the twenty-first century, a new group also rose to power – leading the vision for the future of their edifices – Temple building associations and foundations. In addition to declining membership and structural issues with their facilities, the financial wellbeing was also at risk. The funds necessary to address the deferred maintenance were embezzled. This happened in Salina last year when the treasurer of the Salina Building Foundation was accused of theft and embezzlement from the organization.

I first read about the crime in newspapers while researching Scottish rite theaters that were listed for sale. On May 2, 2017, one Mason commented on Chris Hodapp’s Freemasonry for Dummies blogspot (http://freemasonsfordummies.blogspot.com/2017/05/salina-kansas-masonic-temple-treasurer.html): “Unfortunately, this is much more common that many masons believe. We tend to hide such crimes from public and fraternal view, yet rarely require proper safeguards. I have personally been involved in two similar cases (both of which involved larger amounts of thief).”

Over the past two years, I repeatedly encountered cases of large theft across the country that involved all extensions of Freemasonry – and these were the cases that were discovered and reported in local newspapers; this is likely a small percentage of what is actually happening. The above quote was a standard response by many men, whether in regard to a Grand Lodge, Scottish Rite, DeMolay, Shrine, Masonic Charities or other fraternal group.

As memberships lose the last remaining vestiges of financial security and physical homes, there is anger. The membership is frustrated and many begin to walk away, further depleting the membership ad discouraging those who stay.

The Santa Fe Scottish Rite was in a similar position when one individual rose to power, completely ignored the membership, and placed the building on the market. It took a dedicated group of men who worked tirelessly to get their building back. The common argument that is used by Masonic leadership is that their massive Masonic facility is “too expensive.” Often the need for a skilled marketing director is not employed – a must to bring in the necessary income to pay for all of the deferred maintenance. The future of the building is placed in the hands of a select few who often put their own interests ahead of the membership and the Fraternity. Valuable books and rare artifacts begin to disappear from Masonic libraries and collections before a building is sold. I refer to this as the vultures descending Police reports are not filed as it may portray the organization in a negative light. Members who try to come forward are bullied and threatened.

The Fraternity is at a crossroads and I have to wonder who will be the men who step up and save their heritage, as those dedicated men in Santa Fe.

To be continued…

Travels of a Scenic Artist and Scholar: Making My Way to Salina, Kansas, on June 29

Making My Way to Salina, Kansas, on June 29

As I planned our return trip from Santa Fe, I wanted to visit the Scottish Rite theater in Salina, Kansas, to meet the new steward of the Masonic Center –Mary Landes, the founder of Salina Innovation Foundation. The organization intends to keep the Masonic Center ownership local, for use by the community to foster arts, education, culinary, and business in Salina.\

Front curtain for the Salina Scottish Rite stage. Photograph from the 2010 scenery evaluation.

In 2010, I had the pleasure of evaluating the Salina scenery for the Salina Scottish Rite on one of my many trips to McAlester, Oklahoma, where I was restoring the Scottish Rite scenery there.

Looking up into the flies above the Salina Scottish Rite stage. Photograph from my 2010 visit

I wanted to see the scenery collection that was originally created for the McAlester Scottish Rite’s stage before their current 1929 home. The McAlester scenery was resold to Salina for their 1927 building. In 1922 the Salina Masons began planning a new Masonic complex that would be completed five years later.

McAlester sold the 1908 scenery to Salina when their third stage was constructed in 1929. Thomas G. Moses also listed both the 1908 and 1929 McAlester scenery in his resume as two of the installations under his supervision. In 1928, Moses created new designs and started painting the scenery for the 1929 McAlester Scottish Rite stage. An earlier scenery collection for McAlester was sold to the Santa Fe Scottish Rite in 1908 when the second Scottish Rite stage in McAlester was completed.

A photograph of the Scottish Rite scenery in McAlester, Oklahoma, 1904. This building was known as “The Tabernacle.” It’s scenery was sold to the Santa Fe Scottish Rite in 1908.

The 1908 McAlester stage replaced an earlier Masonic stage in a building called “The Tabernacle.” I photographed images of the Tabernacle stage scenery while restoring ye collection in McAlester. The Scottish Rite had several original photographs of the 1904 stage and scenery in a display case. At the time, I documented these precious photographs, as their placement in glass display cases subject to direct sunlight were taking their toll. Amazingly, I found the link between Santa Fe and McAlester while doing research for the Santa Fe Scottish Rite book. Here is a little historical context to explain the relationship between the Scottish Rite scenery collections in Santa Fe, New Mexico; McAlester, Oklahoma; and Salina, Kansas.

The Sovereign Grand Inspector General for Oklahoma until 1908 was Harper S. Cunningham. He had started out as Deputy for the Supreme Council of the Southern Jurisdiction in Indian Territory. In 1908, he transferred to Santa Fe, New Mexico. While advising on the planning and construction for the new 1912 Santa Fe Scottish Rite building, he encouraged the Santa Fe Scottish Rite to purchase the used scenery from McAlester. His reasoning was so that the members could practice the theatrical staging of degree productions during the construction phase of their 1912 theater. This is the same theater featured in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018).

In Moses’ scrapbook, he pasted a newspaper clipping about the used McAlester Scottish Rite scenery collection that was purchased by the Salina Scottish Rite in 1927. The article reported, ”The one hundred and seventeen drops of scenery that has been in use on the old stage for twenty-five years, has been sold to the Scottish Rite Bodies of Salina, Kansas, and it has been shipped to them. There was nearly a carload of it. Brother John T. Leibrand, 33°, Wise Master of South McAlester Chapter of Rose Croix, negotiated the sale to the Salina brethren who came to McAlester to inspect it. The scenery was painted by Brother Tom Moses under the direction of that great Scottish Rite Mason and student Bestor G. Brown, and was said to be the finest in the Southern Jurisdiction at the time. Brother Tom Moses is painting the scenery for our new stage settings. He is also building stage properties, and all will be the last thing in that line. The brother that does not see this great stage and these wonderful properties at our Fall Reunion will miss something. The Salina brethren are negotiating with Brother John G. Redpath, who had charge of the old stage for years, to superintend the hanging of the drops in their temple.” This used scenery collection was clearly marked with standard Sosman & Landis labeling in charcoal on both the stage right and stage left sides. The charcoal notations denote the degree; the size of 18 feet high by 36 feet wide; and the original venue as “So. McAlester.”

Before Salina purchased the 1908 collection from McAlester, they contracted Sosman & Landis to produced their original 1901 scenery. This installation was also listed on Moses’ resumé, but not recorded in his typed manuscript. I am hesitant to believe that Moses painted the 1901 Salina scenery, as he was quite busy with other projects and had left Sosman & Landis by 1901 to partner with Will Hamiton, forming Moses & Hamilton (1901-1904). The Moses & Hamilton studio offices and paint frames were all located in New York City. My research suggests that the original 1901 Salina Scottish Rite scenery was primarily painted by David Austin Strong, the Sosman & Landis artist who Moses referred to as the “Daddy of Masonic Design.” Strong was one of the original artists hired by Sosman when the studio opened and worked closely with Moses in the early years. Strong was also a Scottish Rite Mason in Chicago’s Oriental Consistory. In the context of theatre history, Strong was one of the original scenic artists for “The Black Crook” at Niblo’s Garden in 1866. Strong’s painting is still visible in scenery currently used at Scottish Rite theaters in Austin, Texas; Yankton, South Dakota; Pasadena, California; and Cheyenne, Wyoming.

One of the Scottish Rite drops in Salina, Kansas, that was originally produced for the Scottish Rite in McAlester, Oklahoma.

But the current Scottish Rite scenery in Salina, Kansas, has another story connected to the venue; one that I discovered during the 2010 evaluation. On November 13^th 1923, the Secretary of the Salina Scottish Rite received a letter from the executive offices of the Sosman & Landis Company, with a stamp noting that their new offices were now located at 6751 Sheridan Road. The letterhead also contained the address of their previous office location at 417 South Clinton Street in Chicago. In 1923, a new scenic studio was leasing the old Sosman & Landis space at 417-419 Clinton Street; the company was Chicago Studios.

In retaliation for Chicago Studios pretending to be Sosman & Landis, Perry Landis contacted many of the Scottish Rite venues 1923. The Sosman & Landis letter said,

“Dear Sir:

It has recently come to our attention that a certain studio is advising our old customers that they have bought the Sosman & Landis Company and are now operating some, combining it with their original company. We wish to assure you that this is not fact and that our original organization is intact, but our studio has been moved to new and better quarters. Mr. Thomas G. Moses, our Art Director would like the opportunity of meeting with your scenery committee to submit our designs and specifications covering your requirements. You will perhaps recall that we were favored with your original scenery order, working through the M. C. Lilley Co., and therefore, it is not necessary for us to give you any reference as to our ability and quality of our workmanship.” They were referring to the scenery created for Salina’s first Scottish Rite stage and before the purchase of the used 1908 scenery from McAlester, Oklahoma.

To be continued…