A vintage photograph of the Paramount in Austin, TexasThe fire curtain at the Paramount Theatre in Austin, Texas. The League of Historic American Theatres conference held their closing party on the stage.The fire curtain was produced by the St. Louis scenic studio – Toomey & Volland.Looking up at the Paramount Theatre in Austin, Texas.LHAT closing party at the ParamountLHAT closing party at the ParamountLHAT closing party at the Paramount
The last event for the League of Historic American Theatres (LHAT) was at the Paramount Theatre. We learned about the incredible history of this beautiful historic theater and its inspiring staff. Each of the staff gave brief presentations and insight into the running of their venue. We looked at funding, educational development, community outreach, and productions.
What struck many of us was the passion and dedication clearly apparent as individuals spoke about their role and mission. It is apparent that the employees feel appreciated. They are treated very well; this feeds into and supports their continued dedication. This is such a no brainer. In this venue, labor is not the enemy. Great healthcare, benefits, and support pay off in the long run.
The Paramount perspective: Investments in our greatest asset…our people.
The executive director of the facility took the time to explain their approach. The repeated over and over that they took the time to investment in their greatest asset…our people. This venue treats their patrons and staff equally well. They are an example of what all theaters, and businesses, should aspire too.
Only 20% of their revenue is dependent on grants, with the majority of their funding originating from private sources. They worked hard to achieve this level of success and continue to work hard at it.
The LHAT closing party was held on stage with a Texas barbeque theme, complete with picnic tables, bourbon samples, and sparking lights overhead. Despite everything else that is troubling in the world, we all needed this community event and positive message. The experience left me with a feeling of hope.
Painted detail at the Paramount Theatre in Austin, TexasPainted detail at the Paramount Theatre in Austin, Texas
Travels of a Scenic Artist and Scholar: Ample Opportunities, July 17
One of our Austin adventures included another trip to the Scottish Rite. We wanted to further explore the effects of electric lighting on the backdrops and brought a few people along. It is delightful to watch people see the magical transformation of light on painted scenery for the first time.
The appearance of light on dry pigment backdrops (also known as distemper painting) is partially created with the specific combination of colors selected by the scenic artist. A blue seascape was not created with pure blue paint from a can, or it would appear flat. A purple shadow was not created with purple paint from a can, or it will appear unnatural. Each backdrop color was a combination of both warm and cool pigments. In college, I was taught to “knock down” the brilliancy of a pure color from the can, adding a complimentary color. Part of this reasoning is to make the painting appear more natural, and not too vibrant as when it comes straight out of the can. Another reason is that both the warm and cool colors uniquely reflect light – it is all about optics.
When making a lovely purple shadow that defines a nineteenth-century forest composition, or some architectural detail, the historical combination of complimentary colors may be ultramarine blue and French mineral orange. This is just one example. There is both a warmth and coolness represented in this color combination throughout the composition.
During two conversations with historic theater owners, I was able to watch their complete comprehension of a historical aesthetic; the facial expressions said everything as they processed the information. That being said, not all people understand color. Not all people understand the variables in painting techniques throughout the 19th and 20th century. I encountered two people today who understood both – this is remarkable
Both understood exactly what I was talking about in terms of color palette as we watched the drop’s magical transition under different lighting effects. It was some of the most exciting exchange of information that I have ever had with a potential client. I recorded the scenic illusions in both still photography and videography, capturing the effects of various lighting effects on historical drops. These images were shared with many colleagues at the conference, as well as theatre owners. All were astounded at how the stage composition shifted in appearance and overall composition. At one point, he exclaimed, “I can’t believe how it looks like an entirely different setting now. It’s the lights!” It IS a big deal to present the possibilities to a historic theater owner. This is one of the reasons that early 20th century scenic studios used electrified models to display the scenery; you have to see it to believe it. There are so many possibilities for the stage, with minimal investment.
The Long Center in Austin, TexasThe Long CenterThe Long CenterThe Long CenterThe Long Center
After our Scottish Rite adventure, we accompanied our friend Frank Cortez to the Long Center. Cortez runs the backstage area at the Long center as well as taking care of the aging counterweight system at the Austin Scottish Rite. He is an amazing and very talented professional. It is wonderful to see a space through the eyes of someone who has worked in a performance venue for years; there is both the presentation of the flaws and advantages of the venue. What a lovely space. I absorbed much information about the current counterweight system like a sponge; I love the mechanics of the entire system and wish that I had studied the intricacies of theatrical rigging just a tad more while in college. After a long day, we returned to our lodging and later met with a dear friend, Karen Maness. We exchanged stories about scenic art, the Press, and the future of our industry.
Travels of a Scenic Artist and Scholar: The Theater Ramble at the League of Historic American Theatres Conference, July 15
There is something wonderful about meeting people who are passionate about historic theaters. Whether they are executive directors, board members, architects, consultants, or technicians, this conference gathers a variety of people from different backgrounds and experiences. The League of Historic American Theatres (LHAT) national conference began on the morning of July 15 with a breakfast. I sat down at one of the large banquet tables and introduced myself to two gentlemen. Wouldn’t you know that they were from the Atlas Theatre in Cheyenne, Wyoming; the same theater that I visited just a few weeks ago on my way to the Santa Fe book release event. It was wonderful to discuss their accomplishments and challenges at their venue. They immediately had questions about the front curtain that I had documented while in their building and my experience with their tour. Small world.
This was the day that many of us were gathered for the LHAT Theatre Ramble. There were sixty of the League members who boarded a bus after breakfast to go on the pre-conference “ramble.” Over the next ten hours, we would visit six historic theaters in the area: the Austin Scottish Rite, the Gaslight Baker Theatre in Lockhart, the Brauntex Performing Arts Theater in New Braufels and the Majestic Theatre, Charline McCombs Empire Theatre and the Tobin Theatre in San Antonio.
The Scottish Rite Theatre in Austin, Texas.The Scottish Rite Theatre in Austin, Texas.The Scottish Rite Theatre in Austin, Texas.
The first stop was the Austin Scottish Rite where I had just spent the past two days. I was asked by our Masonic host, and current Theatre Board president for the venue, to say a few words about the stage and scenery collection. It is always humbling when I am presented as a “national expert” in Scottish Rite scenery and historical scenic art. It is hard to suppress any passion that I have for historical scenery collections and the stage machinery; my enthusiasm has a tendency to spill out with sheer joy about sharing what I love. People recognize this excitement and often express their appreciation, and in turn are excited about their own historic stages. The opportunity to speak about something that I am very passionate about provides one of the best introductions I could have ever to 60 LHAT members.
Many people approached me after my presentation to discuss scenery at their own venues, including one gentleman who showed me a picture of an 1858 Russell Smith curtain. This was a scenic artist from the generation before David Austin Strong and two generations before Thomas Gibbs Moses. I have been slowly plugging through a book about his unpublished manuscript. He was an amazing artist, yet I had only seen black and white photographs of his work To see color detail of this painting and technique in a drop curtain was magical.; a complete unexpected surprise.
The Gaslight Baker Theatre in Lockhart, TexasThe Gaslight Baker Theatre in Lockhart, TexasThe Gaslight Baker Theatre in Lockhart, Texas
After out tour of the Scottish Rite, we headed to the Gaslight Baker Theatre in Lockhart, Texas. This theater opened in 1920 and was proclaimed as the “most modern theatre in the state.” It was later renovated and much of the original grandeur changed as the interior of the auditorium was altered to suggest the interior of a steamship. Even the theatre doors include portholes. Across the street from the theater in Lockhart was a Masonic Temple – go figure. It was hard to ignore, but I hopped back on the bus and we headed to San Antonio where we would visit three more theaters.
The Tobin Center in San Antonio, TexasThe Tobin Center in San Antonio, TexasThe Tobin Center in San Antonio, TexasThe Tobin Center in San Antonio, Texas
In San Antonio we visited the Tobin Center for the Performing Arts; it is listed as a versatile and world-class performing arts facility. Behind a historic façade is a multipurpose performance hall with a mechanized seating system that can transform the space into a flat-floor configuration. This was fascinating to watch the rows of seat appear to unfurl and get placed on stage. There is also a smaller Studio Theatre, and an outdoor performance plaza along the lovely river walk area.
The Empire Theatre in San Antonio, TexasThe Empire Theatre in San Antonio, TexasThe Empire Theatre in San Antonio, TexasThe Empire Theatre in San Antonio, Texas
After the Tobin, we headed to the Empire and Majestic Theatres; two stages that share a common upstage wall. The Majestic is a 1929 theater designed in the Mediterranean style by John Eberson for Karl Hoblitzelle’s Interstate Theatres. The 2,264-seat Majestic Theatre was restored during the 1990s. Nextdoor, the 1913 Charline McCombs Empire Theatre sits on the site of the former Rische’s Opera House. The Empire originally operated as a vaudeville house, but then became a motion picture theater. It was redeveloped as part of the Majestic Theatre project after sitting vacant for years. Both were simply stunning.
The Majestic Theatre in San Antonio, TexasThe Majestic Theatre in San Antonio, TexasThe Majestic Theatre in San Antonio, TexasThe Majestic Theatre in San Antonio, Texas
Our final visit was to the Brauntex Performing Arts Theater, a 1942 movie theater that has survived despite the odds. It was this last stop on the LHAT Theatre Ramble that was the most welcoming. As we departed the bus and entered the theatre, each of us was met by board member who shook our hand and offered a bottle of water. The staff gave a lovely presentation about the history of the venue and its subsequent renovation finished, offering a departing gift as we left the building. It was such a warm and welcoming experience that it ended the tour on a sweet note – especially as each of our swag bags included a gingerbread cookie from the oldest bakery in Texas.
The Gaslight Baker Theatre in Ne Braunfels, TexasThe Gaslight Baker Theatre in Ne Braunfels, TexasThe Gaslight Baker Theatre in Ne Braunfels, Texas
We returned to Austin by 6PM, with just enough time to take a short break before heading back to the hotel for the opening night cocktail reception & welcome dinner. This is a remarkable group of people with a long history. LHAT is an incredible resource for historic theaters, whether they are in large metropolitan areas or small rural towns. As one historic theater owner from Ontario explained, “I like coming here because no one laughs at me for buying a theater, they all understand.” It is a wonderful group of kindred spirits, I am glad to be a member again.
While photographing the Scottish Rite scenery in Deadwood, South Dakota, we discovered a prop attached to the backside of a drop, hanging from the top batten
Photographs of historic scenery are often very static, especially in souvenir programs. Performers are carefully posed in front of scenes compositions. I think of the souvenir program for “Ben Hur” with the various actors in carefully arranged stage pictures. The one thing that Jo Whaley and I tried to convey in the book “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018) was a sense of movement and allowing the reader to enter the scene. Whaley spent hours asking models to slightly move their head, hands, or walk in a certain direction during long exposure shots at the theater. Everything else remained perfectly still, but a slight blur suggesting movement activated the space. The first time she showed me the effect, I was blown away. Models were also positioned to break the picture frame and increase the overall depth with use of silhouettes.
Jo Whaley ad Wendy Waszut-Barrett at the release of “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture, and Theatre” (Museum of New Mexico Press, 2018).
This was a remarkable departure from many other photographs that depicted painted scenes on historic stages around the world. As we selected images for my chapter and the degree portfolio (Chapters 4 and 5 in the book), we decided upon some unnatural compositions too. A backdrop that becomes a blur, accentuating the cut drop details down stage; this was created by slowly pulling out the backdrop. One photo that I specifically requested was taking a picture of the auditorium from behind a cut drop. I have been taking these types of photographs for quite some time, as it helps give definition to netting, bobbinet, and theatrical gauze. My argument to include a composition like this in the book was that it placed the reader in the position of an actor on stage.
Detail of netting and auditorium at the Scottish Rite in Pasadena, CaliforniaBackside of a cut drop at the Scottish Rte in Grand Forks, South Dakota.
I enjoy photographing details in a theatre that the average person will never see, not unless you are an actor or stagehand. That is also why I suggested taking an image from the fly rail in Santa Fe, providing a stagehand’s view of the backdrop, cut drop, floor cloth, props and performers for the 4th degree setting – the Holy of Holies. The collaborative effort was astounding. As Jo had worked for years as a scenic artist in California before focusing on photography in the 1970s, she understood what I was asking, but would still have me take a picture with my phone of EXACTLY what I wanted her to shoot. Then she would take a photograph for the book, adding in her own expertise as a photographer to the composition. We spent hours over the phone “tweaking” each and every photo in the book, even if they were just historical photographs.
Looking through the back of the cut gate for the Holy of Holies at the Scottish Rite in Quincy, Illinois.
There was one type of composition that didn’t make the cut, and I completely understood the decision – the illuminated backside of a backdrop. Many historical drops used very thin layers of paint. I am not talking about glazing, but a thinner coat than many scenic artists used today. Furthermore, the strips of cotton sheeting that were sewn together for backdrops, cut drops and leg drops was MUCH thinner than we use for standard backdrops. The thin fabric, combined with the thin paint, makes a lovely effect when you view the composition from upstage side. The stage lights illuminate the drop and it always reminds me of a negative. The scene looks a bit surreal.
Backside of a translucent section in the Camp Scene at the Scottish Rite in Joplin, MissouriBackside of a translucent section in the Camp Scene at the Scottish Rite in Joplin, MissouriBackside of a drop at the Scottish Rite in Joplin, MissouriBackside of a drop at the Scottish Rite in Joplin, MissouriBackside of a drop at the Scottish Rite in Joplin, Missouri
Today, I am sharing images that I have primarily taken for myself, never intended to share with anyone. Just like a picturesque landscape, or brilliant flower, I see beauty in many of these unusual details and perspectives.
Backside of a drop at the Scottish Rite in Austin, TexasBackside of a drop at the Scottish Rite in Santa Fe, New MexicoBackside of a drop at the Scottish Rite in Grand Forks, North Dakota. The red dye lines were the drawing for the original layout during painting.Looking through a painted gauze made of theatrical scrim at the Scottish Rite in Moline, IllinoisLooking through painted theatrical gauze at the Scottish Rite in Moline, Illinois
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.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.
Painting by Thomas Cole, 1847.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.
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, 4th 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 scene produced by the Fabric Studio of Chicago for the Joplin Scottish Rite, with practical opening and 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.
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, KansasThe 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.
Main Street in Fort Scott, KansasFort Scott National Historic ParkFort Scott National Historic Park
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.
Prairie State Park in western MissouriPrairie State Park in western Missouri
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.
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 13th 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.
We successfully sent my folks off on their return flight to Minneapolis and then decided to drive the Turquoise Trail one last time.
Scenery along the Turquoise TrailScenery along the Turquoise Trail, south of Madrid, New Mexico
This is the road that I traveled daily during the Scottish Rite scenery evaluation during 2002. It passes through some lovey old mining towns that included Golden, Madrid and Cerrillos. The area is a popular place for film and television production with past shows including The Nine Lives of Effego Baca (1959); Bearcats (1971); Thomasine & Bushrod (1974); Convoy (1978); Outrageous Fortune (1987); Young Guns (1988); Sparks, The Price of Passion (1990); John Carpenter’s Vampires (1998); Hi Lo Country (1998); Three Wise Guys (2005); The Hitcher (2007); Beer for my Horses (2008); Seal Team Six: The Raid on Osama Bin Laden (2012); 2 Guns (2012); We’re the Millers (2012) and Edge (2014).
The Cerrillos Mining MuseumInside the Cerrillos Mining Museum, owned by Todd and Patricia Brown
The Cerrillos Mining Museum and Petting Zoo has always one of our favorite spots. During 2002-2005, this was one of our daughter’s favorite stops to feed alpacas, goats and chickens. Today, our son was able to experience it for the first time and loved it just as much as Isabelle.
Information about the owners of the Cerrillos Petting Zoo and Mining Museum, Todd and Patricia Brown
The owner of the mine, Todd Brown, transforms three types of local turquoise into jewelry – white, blue and the popular Cerrillos green. We have always left with some lovely stone that has been transformed into a earrings, a necklace, or money clip. Brown is also a Scottish Rite Mason who happened to be in the store today and not working in the mine; it was nice to catch up as we first met each other during the scenery restoration. His museum also has some very interesting Masonic artifacts that belonged to James Patrick McNulty (1847-1933), mine supervisor of the American Turquoise Company, once located five miles north of Cerrillos.
Lifetime membership card for James P. McNulty in the AASR Scottish RiteJames P. McNulty and his wife in later years
McNulty supervised up to fifteen men, six days a week on Turquoise Hill. In the early boom years, McNulty and the American Turquoise Company supplied most of the gem quality turquoise on the American market. Another place that that we enjoy to see is the Opera House, once used as a Masonic Lodge.
The Cerrillos Opera House
After the Turquoise trail, we ventured east to Glorieta and Pecos.
Scenery mear Glorieta, New MexicoThe Pecos River in Glorieta, New Mexico. The river is extremely low due to draught
It was at Glorieta Pass where a Civil War battle occurred 1862. Known as the “Gettysburg of the West,” Union forces stopped the Confederate strategy to seize the Southwest’s major supply base at Fort Union, with Colorado and California next in line if they were successful. The Texas vanguard captured Santa Fe on March 10, but after two days of battle at Glorieta Pass, US Troops and Colorado Volunteers burned poorly guarded Confederate supply wagons, causing the Rebels to retreat from New Mexico within two weeks. We knew about this scenic site as Andrew heard the story on his way to the reopening of Union Lodge near Wagon Mound. He was invited by Dan Irick last week. Irick is the President of the Santa Fe Scottish Rite Temple Building Foundation who handled many of the administrative duties for the book. He is also a Past Grand Master for the State of New Mexico and Dinky the Shrine clown. I believe that Dan’s retelling of the story may have been a bit more animated than my own account.
Sadly, the Pecos National Forest was also closed due to extreme fire warnings, limiting our ability to travel up into the mountains where the air was much cooler. Instead, we returned to Santa Fe, had a lovely dinner at a local New Mexican restaurant called Maria’s, and went to see a movie – “Jurassic World, Fallen Kingdom.” Dinner was better than the movie. Returning to the Scottish Rite, I signed forty more books for the Valley and started packing.
Signing forty more books for the Valley of Santa Fe before packing our car on our last night
Long, long, long day. We depart early and head to the Scottish Rite in Salina, Kansas – now the property of the Salina Innovation Foundation.
