Photo Essay: The Stagecraft of a Masonic Play

At the Pasadena Scottish Rite, a Masonic Thespian Crew Has Staged A Special Performance for Nearly a Century.

Photos by Justin L. Stewart and Mark Read

Above: The Pasadena Scottish Rite Cathedral, which seats 300, has hosted a production of the Spirit of Hiram, a Masonic play, nearly every year since 1927.

There’s a lot of drama in the Scottish Rite,” explains Gregory Gabriel. He means that in the literal sense: The Pasadena valley of the Scottish Rite has for the past century-plus made its name as one of the most colorful thespian Masonic outfits in the country, mounting elaborate degree performances and Masonic plays. The highlight, though, is the annual production of The Spirit of Hiram, a Masonic play that’s a dramatization of the third degree. This spring, the group presented its 85th production of the play, which it debuted in 1927 and is open to all Master Masons.

“We definitely make a big deal out of it,” says Gabriel, of Pasadena Nº 272 and a 33rd-degree member of the Scottish Rite, who has performed in the play the past 15 years. “This isn’t a degree,” he says. “In lodge, you want to do a letter-perfect ritual. But here we’re just trying to get the meaning of the story across. So we’re able to take a few liberties.” As one of the only valleys in the country to stage the production—and the only one doing it regularly—Pasadena’s Spirit of Hiram is one of the best examples of the craft meeting the stage.

The Show Before the Show

More than 50 volunteers from the Pasadena valley work together to stage the yearly production, including more than a dozen backstage and technical staff (covering lighting, sound, costumes, makeup, and more). The first rehearsals begin in late December with a table read; Robert Sechrest served as director this year. The cast and crew gather for a two-hour rehearsal each Saturday before mounting the show the second week of March. Says Gabriel, “Most of these guys aren’t trained at all. So the music, the lighting, the blocking—it’s a very new experience for them. But that’s the challenge. That’s what keeps us coming back.”

Top row, from left: Costumes are arranged before the play—many of them are original from the 1920s and 30s, sourced from old Masonic regalia retailers; a playbill for this year’s production, the 85th time the valley has staged it. Second row, from left: The interior of the Cobb Auditorium features the Scottish Rite’s double-eagle motif wallpaper; Gregory Gabriel applies his beard for his role as one of the three ruffians. Third row, from left: Frank Barbano, playing the role of the Seafaring Man, gets ready with the help of wardrobe assistant Vatche Kiwanian; Charles Krefting helps run lines before the show with Rick Baca, playing the role of Hiram of Tyre. Bottom row, from left: Lighting manager W. Richard Sauer operates the board; cast and crew await their cues backstage.

Curtain Up

The production is a Masonic play—a dramatization of the murder of Hiram Abiff, the architect of King Solomon’s Temple. The story is familiar to anyone who has received the third degree of Masonry—but in that setting, it’s not a particularly visual experience. Says Gabriel, “We tell all the lodges in this area: If you’ve got members who have just been raised as Master Masons, they have to come see this.

And if you haven’t been part of that degree in a while, you should come, too.” The cast of 33 includes several nonspeaking roles for newbies interested in dipping their toes in the theatrical waters.

Top row, from left: King Solomon and Hiram of Tyre (at center), on their thrones, learn of Hiram Abiff’s murder; the three ruffians are played by Marco Cerretelli, Gregory Gabriel, and Manuel Angeles; Frank Barbano as the Seafaring Man arrives in Joppa, speaking with Charles Fisher, playing one of the Fellow Crafts. Middle row, from left: Members of the audience, which numbered about 175, capture the moment; backstage, visitors and well-wishers gathered before a communal dinner. Bottom row, from left: The spirit of Hiram, played by Eric Bertolli, rises from the dead; the cast and crew of 55 take a bow.

Standing Ovation

While the show is a decidedly nonprofessional endeavor, Gabriel says with some pride that he’s amazed each year at the quality of the production, from the costumes to the lighting to the props. The acting isn’t bad, either. “There’s a moment in the show when it goes dead silent. People are flabbergasted. At the same time, we get to crack a couple of funny lines, too.”

Gabriel has been performing for more than a decade, as have many others in the show. “It’s a lot of fun to do, and that’s what makes it work. It gives us all a little bit of a different perspective.”

Photography by:
Justin L. Stewart and Mark Read