Brochure of the Egyptian Theatre in DeKalb, IllinoisThe front of the Egyptian Theatre
My visit to the Thomas G. Moses’ Oak Park home and the
gravesite of Walter W. Burridge took more time than anticipated on Friday, July
19. This prevented my traveling north to Fox Lake where Palette & Chisel
club members once congregated during the summer. I came up with a quick “Plan B.” Looking at
rush-hour traffic on a Friday afternoon, I decided to simply head to my final
destination for the evening in Genoa, Illinois, by way of DeKalb. On a whim, I
decided to contact the executive director of the Egyptian Theatre to see if I
could stop by and see the theater.
I met both the executive director and architect who are in
the midst of a major renovation, expanding the theater to expand restrooms,
concessions, storage and add air conditioning. Representatives from theater had
actually attended my session on researching historic venues at the League of
Historic American Theatre’s conference that week.
Signs explaining the major renovation at the Egyptian Theatre in DeKalb, Illinois.
I arrived a few minutes early for my meeting, allowing me the
opportunity to walk around the block and examine the “L-shaped” structure of
the building from various angles.
Fortunately, it was a small block, preventing me from suffering heat
stroke on my short walk. It was one of those ridiculously hot and humid days. The
earlier trek about the Forest Home Cemetery had just about done me in that
afternoon.
View of the Egyptian Theatre’s fly towerAlley between the auditorium and nearby buildings, the structure is “L-shaped.”
I had never stopped in the area, but downtown DeKalb is
lovely with colorful floral displays dotting every corner. The front of the
Egyptian Theatre is really an anomaly when compared with other buildings on the
street. Opening in 1929, the exterior
and interior was decorated in the popular Egyptian theme, a trend that picked
up speed after the discovery of Tutankhamen’s tomb in 1922.
Interior of the Egyptian TheatreView of the Egyptian Theatre form the stage
As I entered the building, I examined by the narrow lobby that
led to the auditorium on the right; no wonder the need for expansion. Not quite sure of what to expect in the
auditorium, I was surprised by large murals on the house left and house right
sides.
Looking at the rows of refurbished seating, I had to wonder
what local audiences thought when the theater first opened to the public. I made my way to the stage, curious to see if
any original machinery still remained. Nope.
When the building was constructed, however, the focal point
of the auditorium’s Egyptian decor was a colorful fire curtain. Removed,
encapsulated, and repositioned in the early 1980s, the painted composition is now
difficult to see under work lights. My host graciously pulled up an image of
the curtain on his phone. The scene reminded me of one in the scenic collection
database at the University of Minnesota Performing Arts Archives. I went to the backside of the fire curtain to
see of there was a studio stamp.
The fire curtain at the Egyptian TheatreThe fire curtain at teh Egyptian TheatreThe fire curtain under stage lights during my visit
What I discovered made my brief stop completely worthwhile.
Above a very faint union stamp, was the name of the studio. The executive
director was completely unaware of the stencil as I attempted to read the
script. After a few moments of squinting
and taking pictures to enlarge the font, it became clear that the name of the
studio was “National Theatre Supply Co. Chicago.” Wow.
National Theatre Supply Co. of Chicago was one of the many
theatre firms that Thomas G. Moses (1856-1934) worked for during the late 1920s
and early 1930s. He passed away in 1934.
He not only worked for National Theatre Supply Co., but also Armstrong
Studios and William Lemle and Co, dividing his time between studios in Chicago,
Illinois, and Oakland, California.
While planning my journey back from Philadelphia after an
exhausting week at the League of Historic American Theatre national conference,
I decided to stretch my car trip out over three days. My return trip included
stops at the Cleveland Scottish Rite, Thomas Moses’ Oak Park home and Walter
Burridge’s gravesite at Forest Home Cemetery. I realized that if I were to
route my trip through Des Moines to see our eldest child, my journey would also
pass by Moses’ hometown of Sterling.
After spending the evening of July 19 in Genoa, Illinois, with
close friends and visiting the Egyptian Theatre at DeKalb, I was on the road the
next morning by 6:20 a.m. Instead of taking a direct route that would take an
hour, I decided to meander west first to Oregon, Illinois, and then head south
along the river. That provided and opportunity to pass a few historic opera
houses, understanding that I would have to be satisfied with just seeing the
exterior of each building.
Oregon, Illinois
It was going to be another scorcher, and I was thankful to be
spending most of the day in a cool car, driving along a picturesque river. I first
stopped in Oregon at the Kiwanis Park to enjoyed the early morning sun sparkling
down a rambling river, Then I tracked down the local opera house, as I knew
there must be one somewhere nearby. It was too early to visit any theater; I
located the opera house building adjacent to the Masonic hall and across from
city hall – go figure.
Other stops included Castle Rock State Park and Grand
Detour. Grand Detour is an idyllic town, home to an 1850 Episcopal church and an
1857 hotel. A small village nestled between two rivers; the old hotel with
hitching posts was for sale. So much potential in this little town. As I
ventured south, I stopped by another opera house in bustling town of Dixon; who
knew that this was the birthplace of Ronald Reagan?
Dixon Opera House
As I drove to my destination in Sterling, Illinois, I passed
one of the major cemeteries, making a little note to come back and peak
around. I would later discover that the gravestones
had many scenic art family names, including Landis and Tuttle.
As I followed my navigational route to 508 W. 7th
Street, I noticed the sign “Lincoln Memorial.”
This recent memorial that sat across the street from the first home that
Moses purchased in 1879. For a brief period of time, the couple returned to
their hometown of Sterling until Moses realized that there was not enough
theatrical work in the area to cover their bills.
I sat awestruck looking at the small white house, imagining
what the neighborhood looked like when the couple moved in. After all, it was
only a stone’s throw away from Lucius M. Moses’ tannery along the river. Moses
had left the town to escape the family trade and settle in 1879 only a few
blocks away – struggling. His father had also gone out of his way to discourage
local businesses from hiring his son. It
must have been an incredibly difficult period in his life, as well as their
marriage, when young couple was just trying to make a go of it.
The Moses’ home in 1879The Moses’ home in 1879Thomas and Ella in front of their Sterling Home
Before leaving town, I could not resist stopping by the local
public library, chatting with the librarians, and donating a book in honor of Thomas
Moses. The Sterling Public library was founded in 1878, but the current
building had been constructed in 1913, another Carnegie Library building.
Sterling Public LibrarySterling Public Library
I soon discovered that the library’s local historian had
recently retired, but I was given access to the history center and genealogy room.
There I discovered some interesting history about the area, captured in old
postcards and local directories. I searched for specific listings that provided
answers to many of my questions about extended family members and businesses. Unfortunately
I could not stay for long, as my Des Moines lunch date was over three hours
away and I had another four-hour drive back to Minneapolis after that. I left
town at 10:30 and headed West, all the while contemplating new bits of
information that provided insight into Moses’ childhood and hometown.
Grave of Walter W. BurridgePicture of Walter W. Burridge pasted in the scrapbook of Thomas G. Moses
After visiting the home of Thomas G. Moses, I ventured over
to see the gravesite of another scenic art legend – Walter Wilcox Burridge
(1857-1913). The day had turned into a scenic art pilgrimage, as both Moses and
Burridge were incredibly significant within the framework of American scenic
art.
Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908
On Saturday, June 28, 1913, the “Oak Leaves” reported, “The
funeral of Walter W. Burridge, late of New York, took place this Saturday afternoon
from Grace church. Mr. Burridge died in New Mexico and the funeral took place
here because Oak Park has become the home of Mr. Burridge since he became ill.
Interment will take place at Forest Home” (page 34).
Unfortunately for me, my visit coincided with an intense
heat wave in the Midwest. It was far too hot to be traipsing about the Forest
Home Cemetery, yet I persisted, realizing that this opportunity may not dome
again. Moving the car from one shaded spot to another and donning my sunhat, I
finally located the Burridge’s tombstone. Kneeling in the grass before his
grave, I took a moment to contemplate the life of this extremely talented artist. Despite the heat, I thought about his many
projects in a relatively short period of time. Burridge died from “heart
disease” at the age fifty-six years old while on a sketching trip to
Albuquerque. He was working on an upcoming project for the 1915 Panama-Pacific
Exposition.
Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908
A line from the musical “Hamilton” popped into my head while
kneeling in the warm grass, “I ask myself, what would you do if you had more
time.” Moses included an article by T. D. Williams article about Burridge in
his scrapbook. Here is the article, “Great Colorist Dead.”
“A number of Chicago gentlemen prominent in the paint
business have been life long friends of Walter W. Burridge, an artist of
national, and one might almost say, international repute, because he visited
London several times in the interest of art, who just dies while at
Albuquerque, N. M., where he had gone to make sketches for pictures to be
exhibits at the Panama-Pacific Exposition. The pictures painted by Mr. Burridge
of the Grand Canyon earned him great praise, while other well known works have
brought him equal prominence. He studied color, as every artist must do, and he
sought and obtained pleasing effects for his scenic work, and is probably best
known for his wonderful production of stage scenery. Many leading theatrical
managers, actors and authors engaged him to paint settings and illustration for
their productions, and there are few men who in the present time have painted
as many excellent scenic and studio pictures. His beautiful pictures of
Yellowstone National Park scenery have never been surpassed, while his
wonderful scheme of color, so true to nature, makes a living record of the
beauty and grandeur of the Yosemite valley, cataracts, lakes, giant rocks,
towering domes and all the beauty spots of the valley which he faithfully
transferred to canvas. The studio pictures of Mr. Burridge have frequently been
exhibits in the various art institutions and galleries of this country. Nature
was his great teacher. His mastermind gave him supreme command of the scale of
color, which is evidenced by the many beautiful works of art which he has left.
Mr. Burridge came from New York and was a resident for many years in La Grange,
Illinois, the beautiful suburb in Chicago, in which he had many friends.”
Although I have written extensively about Burridge in past
installments of “Tales of a Scenic Artist and Scholar,” here is a brief recap
of his career:
At a very early age, Burridge apprenticed himself to a sign
painter from Hoboken, New Jersey. His
talent and outgoing personality soon brought him in contact with key
personalities who were connected with the old Park Theatre in Brooklyn.
Burridge soon found himself engaged as a part-time scenic art assistant, and by
the age of thirteen was working full-time for Harley Merry at his Brooklyn
Studio. Merry was the “artistic alias” for English stage performer Ebenezer
Brittain.
Burridge was only was thirteen tears old at the time. He accompanied
Merry to complete distant projects in both Chicago and Philadelphia, making all
of the necessary connections for his career to soar. Burridge’s early career
included a series of mentors, such as Russell Smith, who took a great interest
in shaping the career of this talented young artist, later recommending him for
a series of projects. Burridge’s talent and magnetic personality drew people toward
him, providing one opportunity after another.
His network of support included well-known performers and producers,
including actress Mrs. John Drew.
Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908
Burridge’s artistic endeavors throughout the duration of his
career spanned all across the continental United States and Hawaii. I will
include just a few of the more notable venues. In Philadelphia, Burridge did a considerable
work at the Arch Street Theatre, Broad Street Theatre, Walnut Street Theater,
and Academy of Music. He also painted scenery for the Academy of Music in Baltimore,
before moving to New York City where he accepted an engagement under J. H.
Haverly, painting for many of Haverly’s theaters from New York to California,
including the Fifth Avenue, Fourteenth Street, Niblos’ Garden, and Chestnut
Street theaters. Other artistic endeavors included panoramas. In 1876, Burridge
painted the “Siege of Paris” for the Centennial and later the “Battle of
Gettysburg.”
He moved to Chicago by 1882, settling in suburban La Grange
with his wife and securing work at the Bijou, 14th Street Theatre
and Standard Theatre. Around this time, Burridge
was also under contract with John A. Havlin from 1882 to 1885 for work at the
Grand Theatre. He also worked for six years as the scenic artist at the Grand
Opera House and at McVicker’s Theatre; the man seemed unstoppable and scenic
art was a thriving business. From 1887 until 1882, Burridge partnered with Thomas Moses (1856-1934) and
successful art dealer M. Louderback to found Burridge, Moses & Louderback,
located at the Columbia Theatre in Chicago. During
less than two busy years, Burridge, Moses & Louderback stocked six theatres
with all of the necessary scenery – no small task. Unfortunately personality clashes between
Burridge and Louderback ended the partnership; Louderback came from a “managing
art” background while Burridge came from a “creating art” background.
It was only a few years later, Burridge partnered with
Ernest Albert (1857-1946), and Oliver Dennett Grover (1861-1927), to form “Albert,
Grover & Burridge, Scenic and Decorative Painters” by 1891. Ernest
Albert. Albert and Burridge, both
artists first worked for Harley Merry at the Park and Union Square Theatres in
New York. Albert, Grover & Burridge
had a studio with over 12,000 square feet of working area, and another 2,500
square feet devoted to storage and sewing rooms. They had twenty paint frames,
ranging from 56 by 35 feet to 30 by 20 feet.
The firm did a considerable amount of business for the World’s Columbian
exposition of 1893, including the cyclorama, “Volcano of Kilauea.” Burridge traveled
to the Hawaiian Islands, making a series of faithful reproductions to capture
this natural phenomenon, with his final composition measured 54’ x 412’ and was
also a major attraction at the Mid-winter Fair in Sacramento. Unfortunately for
Albert, Grover & Burridge, their business venture went bankrupt in two
years and Burridge was again on his own.
The scenic studio founded by Walter Burridge, Oliver D. Grover and Ernest Albert
By 1900, Burridge was the scenic artist for the Chicago
Auditorium and the Great Northern Theatre. He was also engaged by Henry W. Savage
to prepare the scenes for the Castle Square Opera Company at the Studebaker
Music Hall. We also know that Burridge designed the scenery for the premiere of
“The Wizard of Oz” at the Chicago Opera House.
In 1900, Horace Lewis recalled a visit with Burridge
writing, “every object, from his devoted wife to the pictures upon the walls,
and his den in the garret, is indicative of the genial, most modest nature and
simple poetry of the man who finds his greatest wealth within that home.”
Burridge passed away during a trip to Albuquerque, New
Mexico while visiting the area to sketches for the upcoming 1915 Panama-Pacific
Exposition. His funeral was at Grace Episcopal Church in Oak Park, Illinois,
although the family did not attend the church. One can only imagine the
projects that Burridge could have accomplished had he lived beyond the age of
fifty-six.
Know as “Wallie” to his close friends, he was laid to rest
at Forest Home Cemetery on June 24, 1913. His son would join him at Forest Home
Cemetery three years later after an accidental drowning at the age of 30. The
family grave now contains Burridge, his son son Walter C. (1886-1916) and wife
Jane Anne (1860-1938). After losing her husband and son in such a short span of
time, Jane lived for another twenty-two years, passing away when she was of 78
years, 4 months, and 20 days old.
Backside of Burridge grave site with dates for his son Walter “Cyril” Burridge who died three years after Walter W. BurridgeAerial view of Forest Home Cemetery near Oak Park, Illinois
Thomas and Ella Moses began house hunting in Chicago at the
beginning of 1893. A few months later, they selected a home in the western
suburb of Oak Park, Illinois. The S. Euclid Ave structure was only a year old
and spacious enough to accommodate four young children. At thirty-seven years old, “Tom” and
Ella had four children William “Pitt,” Mary
Titcomb, Thomas “Rupert,” and Lillian Ella were ages fourteen, twelve, seven,
and four. Moses was thirty-seven years old and at the top of his profession;
life was really looking up.
Moses wrote that their new home had “very fine wood-work, a large stable, driveway, and a 60 x 178 foot lot.” They bought the house for $8,575.00, today’s equivalent of $222,238.22, a substantial sum. Although the amount was much more than the couple wanted to pay, Moses wrote that it appealed to them as no other one had. He had a perfect spot for a home studio with plenty of light. His studio was located in the attic with a high ceiling and ample room to hang pictures.
Moses in his attic studioMoses’ attic studio
Years later, his grandchildren would recall being told not to bother their grandpa when he was painting, yet they still managed to escape to the third floor. Opening the attic door and venturing up steep steps, they were never reprimanded, just given a small project to keep them busy.
The Moses family moved into their new home on May 1, 1893 – the
same day that the Columbian Exposition opened in Chicago. Moses recorded that their new home provided
plenty of room to entertain World Fair visitors. There are extant photographs that
depict the interior of their Oak Park home. In one, Moses sits in front of an
easel in his third-floor studio. Paintings, statues, masks, and art supplies
surround him, capturing a moment in the life and times of Thomas G. Moses. There was painted ornament in almost every
nook and cranny of the home.
The home of Thomas G. Moses, 1893-1934The home of Thomas G. Moses, 1893-1934The home of Thomas G. Moses, 1893-1934The home of Thomas G. Moses, 1893-1934
I have wanted to
visit Moses’ Oak Park home since I first read about it. The Oak Park and Forest Park area, suburbs
located immediately west of Chicago, were home to many Chicago artists who
commuted to the city. When my trip home from Philadelphia, I had the
opportunity to pass through Oak Park and see the neighborhood.
Until Moses’ passing in
1934, Oak Park remained his home. The only time that he and Ella did not live in
there was when they temporarily moved to New York from 1900 until 1904. Although
they spent time on the West Coast too, Oak Park was the primary home to Ella
and the children, hosting seasonal gatherings for family and friends. While
living in New York for the four short years, Moses found renters for the Oak
Park house. In 1900, he wrote, “I didn’t regret going east; but we did
miss our Oak Park home.”
On the morning of July 19, 2019, I planned my drive to Moses’ home and a nearby cemetery. Moses’ one-time business partner, Walter Burridge, was buried in Forest Home Cemetery in the nearby suburb of Forest Park. As I pulled off at the Oak Park exit, I closely examined the houses as the navigational system directed my to S. Euclid Avenue. I had already looked at the Moses’ home in Google maps, so knew the color and exterior of the home.
Picture from Google maps of the old Moses home
All morning I contemplated actually going up to the house, knocking on the door and introducing myself to the current owners. Risky move, as I was unsure of the area or the people that I may meet. Times are different and doors do not always open to reveal a smiling face. I realized that I would have to quickly explain that I was not selling a product or peddling any particular religion, before explaining my interest in their house. At least my visit wasn’t occurring during an election season.
As I walked up the
front steps, it was hard not to think of the many artists who ascended these same
steps throughout the duration of Moses’ life, his close friends who stopped by to
chat or discuss an upcoming project. I recalled one particular instance when
his close Palette & Chisel Club friends came over to examine the 300+
paintings in his attic studio, convincing him to do a one-man show.
When I reached the
front door, I noticed to signs – “We still stand with Standing Rock” and “All
are Welcome.” I heaved a huge sigh of
relief as all trepidation evaporated. I looked at the decommissioned doorbell
and decided to knock, but not too loud. A chorus of dogs responded to my
knocking, and then the door slowly opened.
I smiled at a woman about my own age and explained, “I’m not some nut
off the street…”
Almost two hours
later, I left the home. As expected, I got
teary eyed when I entered Moses’ old studio on the third floor. There is still
so much history and such a wonderful energy about the space. I can see why this would be the perfect paint
studio for Moses or any artist. There is so much more to the story of my visit,
but I can’t bring myself to share. For now, I just want to keep it close and
reflect on both the details and newfound friends.
My grand tour ended
with a cup of tea and a copy of her daughters’ music CD. In exchange for the hospitality and gift, I
left my copy of “The Santa Fe Scottish Rite: Freemasonry, Architecture and
Theater.” One chapter includes a lot of information about Moses’ life and his work
at Sosman & Landis. It was the least I could do, especially after my host invited
me to stay at their home anytime I came to Chicago. The family is perfect fit
for the Moses home.
The CD gifted to me by current residents of the Thomas G. Moses home.
There is that moment
when fate intervenes and you encounter people who make your entire journey
better, enriching your life, even if it is just for a moment. I have been fortunate over the course of my
studies and career to be repeatedly blessed with meeting so many positive
personalities; they always overshadow any negative individual or situation that
I encounter. Stopping by the Moses’ old home
and meeting the current residents was absolutely magical and made me reflect
how lucky I am in my own journey.
Update: TempleLive, a network of historic entertainment venues abruptly closed all location in September 2025. Owned by Beaty Capital Group, the venues often included Masonic structures such as Scottish Rite Temples.
The Cleveland Masonic Temple, once home to the Scottish Rite, is now owned by TempleLive.
I stopped by the Cleveland Scottish Rite building on my
return trip from the League of Historic American Theatre’s national conference
in Philadelphia. The venue has recently changed hands over the past two years and
is under the operation of TempleLive, a group that is buying historic
properties and using them as event centers. (https://www.templelive.com/). TempleLive is the
subsidiary of the Beaty Capital Group, an investment firm with an interesting
past. TempleLive’s most recent purchase was the Scottish Rite in Wichita, a
significant loss for the Fraternity in terms of historical artifacts and material
culture.
The Scottish Rite in Wichita, Kansas, was recently purchased by TempleLive.
The Cleveland Scottish Rite has popped up on my radar
multiple times over the past years, in both personal research and blog posts.
It represents a single square in the quilt of American theatre history, as well
as the life and times of Thomas G. Moses (1856-1934). I first made contact with
Cleveland’s Scottish Rite secretary on my way to Cleveland. He was a very pleasant
fellow. Although happy to meet with me, he could no longer show me the stage
area, as the entire building was under the management of TempleLive.
The Scottish Rite Secretary shared the telephone number for
the local TempleLive representative, urging me to schedule an appointment that
day for a tour with her. She was very accommodating and graciously set a time
to meet. In addition to daily
administrative duties, the local TempleLive manager is also part of the
overhaul team, even painting walls and cabinets as part of the ongoing
renovation work. In addition to implementing new color schemes, she negotiates
the contracts with the Fraternity and is their key contact. Her immediate
supervisor specializes in managing entertainment venues, the two previously
working together on at separate venue in
Cleveland. She explained that the TempleLive protocol is hiring local
individuals and maintaining a congenial relationship with the previous owner,
now a dedicated renter.
Both the Scottish Rite representative and TempleLive host
could not have been more gracious or accommodating during my visit. They each spent an ample amount of time
explaining the transfer of the building from the Fraternity to a private
investor and the necessary renovations that needed to occur prior to using the
facility for public events, particularly Live Nation events. Live Nation
Entertainment advertises as a “Global Leader in Live Entertainment. Artist
Powered. Fan Driven” with over 200 venues, 35,000 annual concerts, 4,000
touring artists, and 93 million fans in 40 countries (https://www.livenationentertainment.com/). They boast, “On average
every 16 minutes there is a live Nation event starting somewhere in the world.”
Scottish Rite stage in Cleveland with some new lighting instruments for Live Nation.
It
is my understanding that Live Nation is solely involved with the stage
entertainment only and not the rest of the building. Live Nation recently installed
new trusses for the secondary lighting system on the main stage. The old
lighting system is still in place, but Masonic Bodies can use the new system for
a substantial fee. With the continued flickering and blackouts during my stage
visit, however, it is possible that the new system has problems. My TempleLive
host explained that the light issues had been a problem since the new system
was recently installed. Hmmm.
Lighting instruments for Live Nation shows.
Both of my hosts adamantly stressed the beneficial
relationship between the Fraternity and TempleLive’s management, especially the
generosity of the new owner allowing the previous owner to rent space in the
building. I could not help think that
the arrangement may be most beneficial to the new owner as there is no
preparation for a new tenant, or any period of vacancy waiting for rental
income. Yet the spin is more of generous landlord helping out struggling
tenant.
My hosts were friendly, inquisitive, and sharing, yet
something seemed off. In fact, as I
walked through the building, I continued to experience a sinking sense of
dread. It was the same feeling that I felt when the last painted setting left
the Scottish Rite building in Fort Scott, Kansas; the soul of the space was
gone. Interestingly, by the end of my two-hour visit, I still had no idea what
happened to the historic scenery collection, who had removed the drops from the
main theater or where they were currently stored. The backdrops went from
“rolled up” to “in storage,” to “there may be a few still hanging.” The cathedral scene may be hanging – smart
move for weddings on TempleLive’s part. There was a framed photograph of the
scene that the Scottish Rite Secretary shared during my visit and both hosts
stressed the beauty of the painting.
Framed picture of one Scottish Rite setting manufactured by Toomey & Volland scenic studio of St. Louis, Missouri, 1919.
To put this all in context, however, here is my current understanding
of what TempleLive does when investing in a Masonic property. First of all, they
target historic venues because of the construction quality and layout, an
aspect stressed by my Cleveland host noting, “buildings just aren’t made like
that anymore.” Paying a fraction of the building’s market value, the new owner ensures
that the various Masonic orders meeting in the space still have access as
renters. In the case of Cleveland, that the Masonic bodies have a base rental
fee and are up-charged for a variety of services, such as using the “new”
lights on stage. This is brilliant, because you not only get a good deal on
real estate, but you immediately have dedicated renters who have no incentive
to find another location. They are not going anywhere anytime soon as securing
another location and moving all of the ritual paraphernalia is a deterrent.
So let’s start from the beginning as explained by my host… the
building changes hands and TempleLive focuses on getting the stage/auditorium
ready to sell seats for touring and local performers. This makes sense as it
provides an additional revenue stream beyond the Masonic orders. TempleLive
invests in the theater areas first. In the case of Cleveland, the $725,000 is
paid for the building and 5 million was solely sunk into theater renovations,
making it immediately ready for performances and additional revenue. Again, the price was $750,000 for a historic
building with 102,000 sq. ft. in a prime downtown location. Keep in mind,
similar transactions have repeatedly occurred during the past decade, with
Scottish Rite buildings changing hands to private investors for next to
nothing, in some cases only $1. Yet almost all have the agreement that the
Masonic orders can still meet in the building, often for a fee. After the theater
is up and running, TempleLive focuses on renovating the remainder of the
building. That is where Cleveland is at right now, moving onto the remainder of
the building.
One of many ornate halls in the Cleveland Masonic TempleOne of many meeting spaces in the Cleveland Masonic TempleA lodge room still used by Masons at the Cleveland Masonic Temple, now owned by TempleLive.
Now there is a second theatre space in the Cleveland Masonic
building that has yet to be renovated. Some of the original scenery is still
hanging. We did not lower the historic
scenes, so I have no idea if they were manufactured by Sosman & Landis in
1909 or Toomey & Volland in 1919. I took as many pictures of the stage
machinery as possible. Sadly, I doubt that retaining any historic scenery directly
benefits TempleLive. If anything, it is likely to be an impediment to their
standard protocol in creating spaces for touring productions.
The second stage at the Cleveland Masonic TempleThe second stage at the Cleveland Masonic TempleThe second stage at the Cleveland Masonic TempleThe second stage at the Cleveland Masonic Temple
I stayed in Cleveland, Ohio, on my return to Minneapolis
after the League of Historic American Theatres national conference in
Philadelphia. In 1905 Thomas G. Moses wrote, “I had to go to Cleveland to put
in a lot of old mill scenery at Luna Park.
Ed Thompson went with me and J. H. Young went to do the properties and
papier mache work.” Moses had a long relationship with amusement park
attractions and exciting projects with entertainment visionary Frederick Thompson.
Luna Park in Cleveland, Ohio, opened in 1905 and lasted until 1929, when it was
destroyed by fire. Constructed by Frederick Ingersoll of Ingersoll Construction
Company, the park was located on a 35-acre site, bounded by Woodland Avenue,
Woodhill, Mt. Caramel, and East 110th Street. Four years later,
Moses was working in Cleveland again. This time it was for a Masonic theater.
In 1909, Sosman & Landis delivered a new set of scenery to the Cleveland Scottish Rite Theatre. That year, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” Scottish Rite installations delivered by Sosman & Landis during 1909 included Masonic theaters in Dallas, Texas, San Francisco, CA, Cleveland, OH, Kansas City, KS, Winona, MN, and Atlanta, GA. Several months ago, I wrote about the Cleveland Scottish Rite and its recent purchase by an investment group that was targeting Masonic theaters. Here is a brief recap on the history and why I made a point of stopping at the Scottish Rite in Cleveland.
Postcard of the Cleveland Scottish RiteThe Cleveland Scottish RiteCleveland Scottish RiteThe Cleveland Scottish Rite
The Scottish Valley of Cleveland consists of a ten-county area
in northern Ohio. The four Scottish Rite bodies include the Eliadah Lodge of
Perfection, Bahurim Council, Ariel Chapter and Lake Erie Consistory. Before
their move to their home at 3615 Euclid Avenue, the previous home to the
Cleveland Scottish Rite bodies, was built in 1883 and located at Superior
Avenue and East 6th St.
Like many Scottish Rite Valleys during the early twentieth
century, Cleveland’s membership dramatically increased, necessitating a new
facility. Construction for a 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. It
is unclear how much of the original scenery may have been enlarged and moved to
the new facility, if any.
Once the Scottish Rite Theatre in Cleveland, Ohio. Now owned by TempleLive.Newly repainted ceiling at the Cleveland Scottish RiteThe seats were recovered tooOriginal seats in at the Cleveland Scottish Rite theater
After 1915, it was not uncommon for Toomey & Volland to
underbid Sosman & Landis on Masonic projects, especially in the Northern
Masonic Jurisdiction. However, even a second scenery collection delivered by a
competitor would not preclude the retention of some original scenes for the new
stage. Some favorite settings were simply enlarged and installed in the venue
alongside the new scenery collection.
Keep in mind too, that many Northern Jurisdiction Scottish
Rite installations were delivered by a scenic studio located in the Southern
Jurisdiction (Toomey & Volland of St. Louis), and many Southern Jurisdiction
Scottish Rite installations were delivered by a scenic studio in the Northern
Jurisdiction (Sosman & Landis of Chicago). This may have been a calculated
move for the scenic studio owners who were Masons, as working outside of their
personal jurisdiction may have prevented any pressure on the studio owner to
donate time, money, services, or goods.
Hubbell & Benes, the same firm that designed the
Cleveland museum of art in 1916, designed the new Masonic Temple in Cleveland.
The new fraternal complex was home to many Masonic Orders, including Scottish
Rite, York Rite, Shrine, DeMolay, Job’s Daughters, Eastern Star, etc. The
massive building covered 102,000 square feet of space, with a 2200-seat
auditorium. Acclaimed for its acoustics at the time, the Masonic Temple was even
home to the Cleveland Orchestra for a decade, before their moving in 1931 to
Severance Hall.
Backstage at the Cleveland Scottish RiteIndividual lines at the Cleveland Scottish RiteBackstage at the Cleveland Scottish RiteBackstage at the Cleveland Scottish Rite
As with many other Masonic buildings of this scope, the
Valley cited declining membership after World War II and escalated expenses
from deferred maintenance when they 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.” Keep in mind that the endowment is now used for rent
paid to the new owners). Cleveland’s Masonic building is listed on the National
Register of Historic places, so the property is eligible for preservation
funding including state and federal tax credits.
Nearly one hundred years after construction began on the
Masonic Auditorium in Cleveland, it was sold to a private developer. The
affiliate of Arkansas-based Beaty Capital Group, Inc. paid only $725,000 for
the entire complex on March 31, 2017. TempleLive, a subsidiary of Beaty Capital
Group is the same company that purchased the Scottish Rite in Forth Smith,
Arkansas, and most recently, the Scottish Rite in Wichita, Kansas. They also attempted
to purchase the Zembo Shrine building in Harrisburg, Pennsylvania during
January 2018.
In Cleveland, Fort Smith and Wichita, the Fraternity will
never be able to afford the expense of constructing anything comparable. In
many cases, the materials and craftsmanship necessary to build these types of
buildings are often no longer available. It is the future generations of Masons
who lose in the end, as they are the ones 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 contemplate how these venues can be saved and marketed. The winners are
those who purchase these jewels for pennies on the dollar.
I was curious to see how a Masonic building was operating
under the direction of Templelive, hence my stop. More on my experience at the
Cleveland Scottish Rite tomorrow.
Update: TempleLive, a network of historic entertainment venues abruptly closed all location in September 2025. Owned by Beaty Capital Group, the venues often included Masonic structures such as Scottish Rite Temples.
The front of the Collingswood Scottish Rite includes the original mansion that was built on the property in the 1850sThe design for the Collingswood Scottish RiteMy visit to the Collingswood Scottish Rite on July 13, 2019
In 1991, I encountered a series of Scottish Rite scenic designs
with “Camden, NJ” written on the back. This was while I was processing the
Holak collection for the University of Minnesota Performing Arts Archives as
part of an Undergraduate Opportunities Program grant. The Holak collection was
the second of two Masonic scenery collections that I processed between 1989 and
1991. The Holak collection included a
variety of designs created by “Sosman & Landis” and their eastern affiliate
“New York Studios.”
By 1992, I journeyed to the East Coast for the first time,
newly engaged and visiting my fiancée’s family in Delaware. Unfortunately, there
never seemed to be any opportunity to track down the Camden Scottish Rite, so
it sat on the back burner for a few decades until this month.
Over the years, I would think of the Camden designs every
time we visited friends or family in New Jersey. Opportunity finally presented
itself while I was attending the League of Historic America Theatres national
conference in Philadelphia. I was on my
way back to New Jersey with our eldest child’s godparents when we decided to
stop by and take a look. I had not
scheduled a visit or checked if the building would even be open, just hoping to
catch a glimpse of the fly tower. The Collingswood Scottish Rite was only two
blocks away from the Camden city line and bustling with activity when we
stopped.
There were cars in the parking lot and many exiting the
building – score! This meant that I
might be able to venture in far enough to see the lobby, and possibly the theater. Unbelievably our arrival coincided with the
break between the matinee and evening performances of “Seussical” – not by the
Masons, but by a local community theater group. Although, the idea of a Masonic
version of “Seussical” does make me giggle – “Oh, the Thinks You Can Think!” But
I digress…
Once inside the building, I met with an enthusiastic woman
who eagerly listened to my connection with Masonic theater and then introduced
me to Mary, the woman in charge. She was also delighted to hear my history about
Scottish Rite scenery and promptly offered us a tour of the stage, patiently waiting
while I climbed up to the fly gallery. “Seussical” had not been presented in
the theater due to lack of central air. Instead, it was being presented in the
only air-conditioned space below- the banquet room.
Postcard depicting the auditorium and one stage setting at the Collingswood Scottish Rite.The Collingswood Scottish RiteThe proscenium line at the Collingswood Scottish RiteThe fly gallery at the Collingswood Scottish Rite
After examining the toasty auditorium and stage, we wandered
up to another room where some of the backdrops were stored. I would later learn
that local riggers working touring shows at the Collingswood Scottish Rite demanded
the removal of the historic drops. All this seems very odd and I sincerely hope
that I have misunderstood the chain of events leading up to the removal of the
scenery. In the end, some of the scenes were
gifted to the community theater for productions. The gifted drops have been
repaired and repeatedly used in local theatre productions.
Without being able to unfold any of the drops, or see a
stage book, I had no way of knowing if the Holak designs were ever realized for
this particular venue. The designs may
have simply been for a preliminary proposals.
My host suggested that I contact the Scottish Rite Secretary the next
week and meet with him, specifically asking to see the stage book.
It was not until after the conference ended, that I returned
to the Scottish Rite, scheduling a meeting with the Scottish Rite secretary and
bringing a few LHAT friends. I enjoyed a second tour of the theater before
examining the stage book and chatting with the Scottish Rite representative.
Before the scenery collection was removed, each backdrop had been photographed
and placed in a packet, noting the original line sets. As I slowly flipped
through the packet, I recognized many of the compositions from the Holak
collection.
Folded backdrops at the Collingswood Scottish RiteA design from the Holak Collection, with “Camden, NJ” written on the back.Photograph of the same scene in the Collingswood Scottish Rite stage book
Although the scenery collection is folded up and in storage,
it still exists – for now. There is also
a greater possibility that the historic backdrops may avoid a final resting
place in a dumpster if there is any perceived value of the artifacts; I did my
best and even left a copy of “The Santa Fe Scottish Rite Theatre: Freemasonry,
Architecture and Theatre” for the Scottish Rite Valley library.
The history of the Collingswood Scottish Rite complex is quite
unique and fascinating. The Masons purchased the parcel of land with the intent
of leveling the existing 1850s mansion that remained on the property at the
time of sale. At some point, plans changed and the mansion was not leveled,
just abbreviated; the front portion was left standing to be used as Scottish
Rite offices. The new theater building was then connected to the back of the old
mansion.
Recently, the Scottish Rite sold its building to the city,
reserving the right to maintain the offices and use the lodge room. This arrangement is becoming more common
across the country, as Scottish Rite Valleys sell their buildings for pennies
on the dollar and negotiate with the new owners to still meet in the space. I
remain unsure as to how much the theater is used for Scottish Rite degree
productions, if it is used at all. Remember that the Northern Masonic Jurisdiction
has mostly transitioned from degree productions to video presentations for
instruction. The Collingswood Scottish Rite auditorium hosts a variety of
touring shows, including an upcoming performance by Pink Martini, my new favorite
musical ensemble. The current bookings at the Collingswood Scottish Rite remain
limited to spring, fall and winter due to the lack of any central air.
On July 17, League of Historic American Theatre (LHAT) conference attendees toured the famous Walnut Street Theatre. Located at the corner of Ninth & Walnut Street in Philadelphia, the theater opened its doors on February 2, 1809. Initially the structure featured a ring for equestrian acts. Initially built for the Circus by Victor Pepin and Jean Breschard, over the course of two centuries, the building underwent many renovations. The building was initially enlarged between 1811 and 1816, transitioning from a circus arena into a legitimate theatre with elevated stage. Remodeled again between 1827 and 1828, gaslights were added in 1837 and air conditioning in 1855, an American first for both. By 1863, Edwin Booth and John Sleeper Clarke purchased the venue, initiating a new era under their leadership. Throughout the duration of the 19th century and well into the 20th, the Walnut Street Theatre underwent a series of renovations, including multiple scenery purchases.
One of the framed prints at the Walnut Street TheatreAnother framed print depicting interior of the Walnut Street Theatre in 1865The Walnut Street Theatre in 1885
The LHAT tour in July coincided with Walnut Street Theatre’s summer camp. Seated in the second to last row of the auditorium, I watched young performers below on the stage. It reminded me of our eldest child’s summer camp program at the Wilma Theatre, an annual gift from generous godparents who lived in New Jersey. These were the same friends that I stayed with during the conference this year.
There is something very heartwarming about watching young
children on a very old stage, as they become part of the theater’s legacy. With
these future thespians in the background, our animated host explained the
history of the building. The Walnut’s website also does an amazing job at presenting
the past. Here is the link: https://www.walnutstreettheatre.org/about/history.php
Despite the gracious welcome by Walnut Street Theatre staff,
I was very disappointed with the current interior, somewhat reminiscent of a
grey shell. I understand that the interior
aesthetic of many theaters shift over time, their interiors constantly being re-envisioned
by a variety of personalities. It is unusual for a theater to remain its
original glory, exact in every detail. I understand the push for change or
modernization of any space. However, I should have prepared myself for the
Walnut Street Theatre before my visit. Over the past few years I have
repeatedly written about the variety of artisans that contributed to the
Walnut’s past, primarily focusing on scenic contributions. Whatever I had been
expecting to see was not the current decor. I really didn’t have the heart to
take any pictures of the space, a first for me. The stage was also unavailable
due to summer camp, an element that I had really hoped to see.
The interior of the Walnut Street Theatre in 1952The interior of the Walnut Street Theatre by 1969
Fortunately, images from the venue’s past were prominently
displayed everywhere. The hallway behind the balcony contained a variety of
images ranging from performers and shows, to historic floor plans and
broadsheets. Blurry images that I have
repeatedly encountered online were hanging in their full-scale glory. For that
alone, the trip was worth it.
One of the
artistic contributions by a scenic artist was mentioned in an 1894
“Philadelphia Inquirer” article. A drop curtain by scenic artist Matt Morgan
was installed in 1877.
Here is the
section about Morgan’s drop curtain at the Walnut Street Theatre:
“The drop
curtain at the Walnut Street Theatre is strikingly different from any other in
town. It is skillfully painted to represent silk, and appears to be made of
sixty-four squares of white silk deftly sewn together, on which, in a large
oval in the center of the curtains is painted a charming picture, representing
Shakespeare reading his play, “The Merry Wives of Windsor,” before Queen
Elizabeth. It is known as the Shakespeare curtain, and was painted by that
versatile artist, Matt Morgan, in 1877. Matt Morgan, now deceased, was a
prominent figure in the art world. Though born in Ireland, he was educated in
London, and worked on a number of illustrated papers. He was also a figure
artist of marked ability, but was unsuccessful in his business ventures. The
curtain was first unrolled September 10, 1877, and shows none of the effects of
the seventeen years of constant use. Through the oval occupies less than a
third of the square surface of the curtain, it contains more than a score of
personages. The aged queen, habited in a robe of yellow silk with pointed
bodice of coquelicot satin, puffed sleeved trimmed with velvet and an enormous
white lace collar and lace cuffs, is seated upon a throne surrounded by
courtiers, pages and attendants, while she listen with rapt attention to the
reading of the play” (Dec. 18, 1894, page 45).
A
celebrated scenic artist and caricaturist, Morgan was an Irishman trained in
London. The favorite pupil of well-known artist Clarkston Stanfield, in 1866
Morgan was working as an assistant to Thomas Grieve at the Covent Garden
Theater in London (The Era, 23 Dec. 1866, page 8). By 1870, Morgan immigrated to America, soon
making a name for himself as an illustrator at Frank Leslie’s Illustrated paper.
He became a rival of Thomas Nast, the German-born caricaturist and editorial
cartoonist (Reading Times, 12 Oct, 1876, page 4). Before immigrating to
America, however, Morgan worked as a cartoonist for “Tomahawk,” a weekly comic
paper during the 1860s. Later Morgan became the head of the art department of
the Stowbridge Lithographing Company in Cincinnati. In America, Morgan worked as
both illustrator and scenic artist all across the country, and by 1875, a
Chicago newspaper article described Morgan as “far above the ordinary level of
scene-painters” (Chicago Tribune, 14 Feb 1875, page 10).
In 1886,
Morgan organized a scenic art company in Cincinnati, Ohio. The company was to
“present a series of accurate and historic pictures of the decisive battles of
the late war between the states. These great pictures, now approaching
completion for the northern victories, are to be exhibited throughout the
country under the directions of competent lecturers; well known officers of
both armies” (The Pulaski Citizen, Pulaski, Tennessee, 12 Aug. 1886, page 2).
Newspapers
report that Morgan died of pleurisy, brought on by his work at the new Madison
Square Garden (Logansport Reporter, 3 June 1890, page 3).
By 1905,
the “Pittsburgh Daily Post” described one of Morgan as a “forgotten artist”
when his work was exhibited at the 1905 Scene Painters’ Show. Held at the
Grafton Galleries by the Scenic Artists association, the exhibit featured
Theater Artists of Great Britain, including cartoons by Morgan. (14 May 1905,
page 26).
The Forrest Theatre tour took place on the final day of the
League of Historic American Theatres National conference in Philadelphia. The
LHAT program noted, “The Forrest is a quintessential ‘road house’, used
primarily by touring theatre and dance companies. It was built in 1927 to
compete with rival A.L. Erlanger’s planned new playhouse at Market and 21st
Streets. The Shuberts intended the new playhouse–named after Edwin Forrest,
the great Philadelphia born tragic actor of the nineteenth century–to surpass
Erlanger’s new theatre in terms of size and splendor.”
The Forrest Theatre in Philadelphia
Costing over $2,000,000, the structure was designed by
architect Herbert J. Krapp. The space boasted wider seats in the orchestra and
modern ventilation and electrical systems. Interestingly, the dressing rooms
are housed in a separate building, connected to the stage by an underground
tunnel. Theater representatives explained that the reason for this layout is
still unclear.
In the 1990s, renovations included redecorating the grand lobby and accessibility improvements. By 2017, the auditorium and mezzanine lounge underwent extensive redecoration, as well as improvements to air conditioning and heating systems. During our visit, there was still work being completed and much was draped in plastic.
The Forrest Theatre during our visit on July 17, 2019The Forrest Theatre auditorium ceieling
During our tour, we learned that the painted fire curtain had
also been recently removed. Our tour guides explained that the painting was
stunning, but then proceeded to cite the reasons for its removal. I understand
that in many cases, encapsulation of an asbestos curtain may be cost
prohibitive. When contemplating restoring an auditorium to its original
splendor, millions of dollars will be spent. Yet often the original drop
curtain, a painted element that often completed the auditorium’s décor, is left
out of the conversation. I am fascinated
with this omission.
The proscenium arch and view of the fly galleryThe proscenium arch and view of the grid
As I contemplated the funds spent on the Forrest Theater’s auditorium
and mezzanine lounged, I wondered why stopping at the proscenium opening was
optional. After all, this is the focal point of the theater that every person
faces while waiting for a show.
When I walk into a historic theater, or any theater for that
matter, I look around the auditorium to briefly examine the space. This often
occurs while trying to locate my seat. Even if I am fascinated with the architectural
ornamentation, seldom do I stop, as there is often a stream of people behind me
also navigating their way to a seat.
Ornamental detail at the Forrest Theatre
Once seated, I take in the space, to my right, left and
above. Turning around to see the complete auditorium will often wait until my
exit. Even the most ornate auditorium
will not cause me to sit starring at the ceiling for extended periods of time
while attending a performance. Like
many, if not looking at my program or chatting with a companion, I will face
the proscenium and patiently wait for the show.
I like to think that I am not an anomaly and that my experience is
similar to many who have attended the theater over the decades. As audience
members, we face forward while waiting for a performance to begin. All told, a substantial amount of time is
spent facing the proscenium opening. I can only hope that a painted front
curtain, fire curtain, or decorative grand drape is filling that void. This is an integral part of the theatre
experience. One may even note that whatever is hanging in the proscenium
opening may be the pinnacle of the pre-show experience.
The 1894 newspaper article, “Well-known Drop Curtain in
Philadelphia Theatres,” reported, “It is claimed by managers that a handsome
drop curtain has much to do with the drawing qualities of the house. A charming
landscape depicting the greenest of lawns, sparking fountains, rare shrubbery
and bright flowers, the dimpled surface of a placid lake, with magnificent
hills or rugged mountains in the distance to kiss the brightest fleecy clouds,
forms an ensemble well calculated to put the audience in good humor to witness
a play. And when let down between the acts it has a tendency to calm the soul
after turbulent passages and rouses it to cheerfulness after tearful ones.”
(“The Philadelphia Inquirer” on Dec. 18, 1894).
The second historic theater visited by League of Historic
American Theatres members during the National conference was the Merriam
Theatre. The LHAT program noted, “The Merriam Theatre, formerly the Sam S.
Schubert Theatre, is Philadelphia’s most continuous location for touring
Broadway show theatre. It is located at 250 South Broad Street within the
Avenue of the Arts cultural district of Center City, Philadelphia. The Schubert
Organization built the theater in 1918. In 1972 the theater came under the
ownership of the Academy of Music, and was owned by the University of the Arts.
In November 2016, it was purchased by the Kimmel Center for the Performing
Arts.”
The Merriam Theatre in Philadelphia
On March 30, 1918, the “Evening Public Ledger” reported,
“Plans for New Schubert Theatre.
“Theatrical patronage has recovered bravely from the
melancholy slump which afflicted it last December. It weathered the fuel
administration’s ruling and it has even experienced a rather lively ante-Easter
period. And now, despite the war, there are definite prospects for additional
footlight activity in this city.
“The handsome Schubert Theatre, under construction on the
former site of the Horticultural Hall, is scheduled from completion on May 10.
There are rumors that the daring venture of giving summer musical plays in
Philadelphia may be made. The plans have not yet fully matured, but it is
asserted on reputable authority that the new house will be opened as soon as it
is finished. The initial attraction may be “Maytime” or the new Winter Garden
potpourri, “The Passing Show of 1918.”
“Less frivolous offerings will, of course, be presented
there when the regular season is on, and by next autumn eight so-called
“first-class” theatres will be in operation here for the first time in the
city’s history. This figure can be swelled to eleven if the Little Theatre,
whose policy has lately been variable, and the Academy and the Metropolitan,
devoted to music, are included” (Philadelphia, page 10).
