Maintaining and Restoring Historic Drops: How to Plan and What NOT to Do

Copyright © 2020 by Wendy Waszut-Barrett

I am frequently asked about historic scenery maintenance and restoration techniques, with many suggesting I publish some form of manual. Unfortunately, there is no standard way to restore all historic backdrops, cut drops, leg drops, roll drops, wings or shutters. Each one is different, demanding a custom approach based upon a unique set of criteria identified during the preliminary research phase.

A stage artifact’s artistic provenance is the main factor in determining the appropriate process for a continued care program, maintenance or any restoration. 

Extensive research must be completed prior to proposing a plan for the handling, cleaning, or repair of a large-scale artwork. Certain questions need to be answered in advance too; who manufactured the scenery, when was the scenery manufactured, and where was the scenery manufactured? The answers to these questions are key in determining the preservation strategy for a specific stage artifact or scenery collection. These answers also prompt a subsequent series of questions regarding appropriate materials, techniques, processes, timelines, future display and use. Is this historic scene intended for display in a theater, or will it simply hang on the wall of an art gallery, commercial establishment, or private residence? How often will the scenery be used, if at all?  The answers to these basic questions help formulate a plan.

In addition to understanding an artifact’s artistic provenance, all stakeholders must understand that certain materials and techniques could destroy the artifact. I will explain what not to do, based on examples of poor repairs that I have encountered in the past.  There are specific materials and techniques that should never be used on historic scenery or fragile fabric, as they cause irreparable harm and could destroy a significant piece of theatre history.

Contemporary scene painting is a dramatic departure from historic scene painting, in terms of fabrics, painting products and artistic techniques. So much has changed over the past two centuries. Historic scenic art is foreign ground to many contemporary scene painters, especially as certain types of training and materials have vanished from most college curricula and theatre apprenticeships. Just because you are a scenic artist does not make you qualified to restore historic paintings; the two are worlds apart. In other words, an ability to paint historic scenes doesn’t mean you should repair historic scenery. Similarly, a fine art conservator is not necessarily qualified to assess and repair historic settings for the stage.

1. ESTABLISHING ARTISTIC PROVENANCE

The first step to any historic scenery project starts with research. You need to establish the artistic provenance of a stage artifact or scenery collection, and here are the questions that you need to ask, and why you need to ask them:

            WHO made it? Is it a backdrop painted on cotton sheeting by a student for a class play in the 1920s, or is it a drop curtain constructed of Russian linen and painted by an internationally recognized artist in the 1890s?  The manufacturer of a scenic piece matters, as it is integrally tied to the painting process and materials.

Many nineteenth-century and early-twentieth-century American scenic artists attended art institutes, at home and abroad. In many cases, fine art studies were completed in addition to a lengthy apprenticeship at a professional scenic studio before striking out on one’s own.  American scenic artists at this time were members of fine art organizations across the country, and much of their work continues to be treasured in the fine art world. For example, some scenic artists in the east belonged to the Salmagundi Club and/or Rochester Art Club.  In the midwestern states, scenic artists studied at the Chicago Institute of Art, joining unique groups, such as the Palette & Chisel Club. In the west, scenic artists belonged to a variety of fine art organizations established in the Pacific North West, California, New Mexico and elsewhere. Theatrical scenery created by scenic artists should not be considered any less significant than their smaller fine art pieces. Large scale works provided generations of artists with opportunities to explore color theory, painting techniques, compositional lay outs and lighting conditions.  That being said, there were many amateur artists producing scenery too, and their work is easily identifiable, but also culturally significant.

Regardless of skill level and/or final product, the terms “old backdrops,” “old backings for the stage,” and “old scenery” devalues stage art. Instead, refer to historic scenery as “large-scale artworks” painted by local, regional, national, or internationally recognized fine artists. Public perception is crucial when preserving theatrical heritage. Your terminology could save a piece of American theatre history, or world history.

            WHEN was the artifact manufactured? The year, decade, and/or century that the theatrical scene was produced helps identify the type of fabric, paint, and painting process.  Knowing the age of a scene helps identify various materials, especially the fabric and basic construction techniques. Fabric seams, whether vertical or horizontal, can also identify a particular era and studio. How the drop is suspended and operated also matters. Are there sandwich battens, rollers, jute webbing, or something else at the top and bottom of the scene? Is there a counterweight system with arbors or a pin rail with sandbags? Keep in mind that the overall suspension affects the deterioration of both the fabric and painted composition. Understanding the original materials and display are crucial in identifying and locating appropriate and compatible materials for any repair.

            WHERE was the artifact manufactured? Location can help identify a specific construction and painting process. Certain regions adopted unique approaches to scenic art, often based upon the influx of immigrants. Scenic art in the United States began as a large melting pot of languages, traditions and techniques, with two dominant approaches emerging between 1850 and 1900. At this time American scenic artists primarily worked with opaque washes, thin glazes, and later a combination of the two. These artistic influences are still recognizable today across the country. For more information, read my recent article, “American Scenic Art: The Immigrant Contribution,” in TheatreInitiative Berlin’s Die Vierte Wand #110. Itavailable for free online https://archive.org/details/itheam_d4w-010_202009,

or downloadable as a pdf https://issuu.com/itheam/docs/itheam_d4w-010.

Throughout the twentieth century the American scenic art world continued to change, incorporating new products and methods into the painting process. As an industry many American scenic artists shifted from painting on vertical frames to painting on the floor. A backdrop painted in 1929 and another painted in 1940 may seem light years apart when examining construction, materials, painting techniques and operation.

2. MATERIALS AND PRODUCTS TO AVOID DURING RESTORATION

Restoration is for the long term. Unlike the ephemeral nature of scenery for a short-run show, certain materials and techniques to repair historic scenery should be avoided. Use common sense and think of the big picture; one beyond a quick repair. Select techniques that are reversible and will not permanently alter the artifact. Some methods to patch and repair contemporary drops are not always an option for historic ones. Below is a list of specific materials and techniques that should never be used on historic scenery or fragile fabric:

Metal: Sheet metal is never an option to patch fabric. The weight and sharp edges pose a threat and the rivets puncture the fabric.

Plaster: Plaster on fabric adds too much weight and the painted composition will stretch an irreparable amount.

Hot Melt Glue: This product embeds itself in the fibers and is irreversible, while adding unnecessary weight to the area. Hot melt glue should never be considered when repairing fragile fabrics or historic scenery. It is also an accelerant, posing a fire hazard.

Wood Glue: This product is too brittle to use on soft goods. It was also never intended for fabric; it’s for wood.

Wood Putty: This product was never intended for use on fabric. Again, it is for wood and too rigid for repairs.

Masonite: The weight of any wood or composite material glued to the back of drop or flat causes stress and will irreparably stretch the surrounding area.

Contact Cement: This is an irreversible and a solvent-based product that should not be used on historic scenery. It poses a fire hazard.

Flexible Foam: This product should not be glued to historic scenery at all.

Plastic and plastic netting: Plastic should never pair with historic or fragile fabric for many reasons. In regard to plastic netting, the rigidity will harm the fabric. Look for all-natural cotton fabrics and nettings.

Do not replace wooden battens with pipe pockets: Replacing wood battens with pipe pockets always fails. Piercing the fragile fabric creates a weakness; adding weight on that weak area works like a perforated page. It will eventually tear off.

Do not patch the front and sewn fabric patches: Sewn patches are seldom a solution, as piercing the fabric introduces additional weakness to damaged areas. Also, all patches should be applied to the back of pieces, never the painted front.

Do not consolidate paint with a reflective product: Dusting pigment is a problem with historic scenery, as the original binder begins to break down over time. Humid environments and water damage can accelerate this process. Consolidating loose pigment is the only option to minimize airborne particles, especially those that may be dangerous. The original binder for the paint was an all-natural, water-based product with a completely matte finish (hide glue). If you substitute a contemporary product, it should never leave any type of sheen to the surface or darken the original color. Even when the label says “matte” or “flat” it may still reflect stage lights.

Do not a different artistic medium on historic scenery: A new paint product should never be introduced for in-painting or overpainting on a historic drop. The color and finish will not match the original paint product, especially under the glare of stage lights. Oil pastels, markers, hobby paints, crayons and even contemporary scenic paint should not be used when restoring scenery that was originally painted with dry pigment and diluted hide glue.

Do not use flame-retardants on historic scenery:

Fire retardant chemicals irreparably damage historic scenery, harming both the fabric substrate and the painted composition. The original fabric discolors over time and becomes brittle. The painted surface will also crack, eventually flaking off.

The following was created by the director of Curtains Without Borders, Chris Hadsel:

“The attached amendment was passed by the National Fire Protection Association Technical Committee on Cultural Resources in September 2007.  The amendment is to the National Fire Protection Association (NFPA) 101 Life Safety Code, NFPA 909: Code for the Protection of Cultural Resources Properties – Museums, Libraries, and Places of Worship.  The revised code was approved in 2009.  You should be aware of the following standards and you should work with your local fire marshal to be sure that you are in compliance.

 There are two aspects of this amendment that you should be aware of:

1. As historic artifacts, a destructive burn test and/or the application of fire-retardant chemicals are not recommended by accepted preservation practice.

2.  However, in order to qualify for an exemption to Life Safety Code #101, the following  safeguards must be implemented.  These include, but are not limited to:

Prohibition of open flames (i.e. candles, lamps, and smoking)

Avoiding the use of heat producing appliances such as food and beverage preparation equipment within the room

Adding a fire watch during events when there are large groups of people

A recommendation to replace light bulbs on stage with cool burning lamps such as a fluorescent or LED, with no lights, electrical devices or cables located with 1 meter of the historic artifact.

Appendix 11.2.4

11.2.4:  Fire-retardant treatment of historically significant fabric shall not be required where such treatment will cause damage to the fabric.  This provision shall apply only on an object-by-object basis and where alternative protection measures are approved.

Where historically significant artifacts such as painted stage drops, tapestries and antique flags are displayed in public gathering places there is a need to balance fire and life safety requirements with the preservation needs of the artifacts.  Life Safety Standards including NFPA #101 Life Safety Code mandate fire retardant treatments for fabrics that are used in gathering places, with NFPA 701 Standard Method of Fire Tests for Flame Resistant Textiles and Films referenced as a test protocol.  NFPA 701 requires a destructive burn test of a fabric sample to verify compliance with the standard however this action will cause permanent damage to the material and is not recommended by accepted preservation practice.  Additionally, specific chemical treatments that may be applied to reduce combustibility may also result in irreversible harm fabrics.   None-the-less there is a need to protect artifacts and the locations in which they are housed from fire, and safeguards must be implemented for situations where artifacts are displayed in assembly spaces.  These should include but not be limited to: prohibiting open flames (i.e. candles, lamps, and smoking), avoiding the use of heat producing appliances such as food and beverage preparation equipment within the room, or adding a fire watch where the artifact is located.  The use of cool burning lamps such as a fluorescent or LED within the space is recommended with no lights, electrical devices or cables located within 1 meter (3 ft) distance of the artifact.  The placement of a combustible artifact within an assembly space should be approved by the authority having jurisdiction.   The AHJ should consult with disciplines that have expertise in preservation and protection of artifacts.”

Understanding Painted Illusion for Historic Theaters

It is crucial to understand painted illusion for nineteenth-century and twentieth-century stages when planning the preservation of historic scenery. Painted illusion was used in a variety of venues, including theaters, opera houses, cinemas, music academies, city halls, schools, lodge rooms, armories, coliseums, and hippodromes. None of it was intended to be viewed up close, or on a museum wall.  

Many extant backdrops were produced as part of a set. There would be a combination of backdrops, cut drop, leg drops, and borders, or wings, shutters, roll drops and borders. Flat profile pieces were added for painted dimension. A proscenium opening with painted grand teasers and tormentors were often permanently positioned to frame the onstage setting.  The level of detail for each painted piece shifted as the scenes were positioned from upstage to downstage.

Before you decide to formulate a maintenance plan or the restoration of any historic scenery, understand the past; past materials, past techniques, past stage systems and past venues. All provide much needed information. Choosing an appropriate path for any scenery maintenance or restoration is akin to the saying, “measure twice, cut once.” In almost every case you have only one opportunity to do this right.

Here is a link to my youtube video about the topic: