Although theatre is often considered ephemeral, some scenes were stored and repurposed for new productions. Scenery was not only reused and resold for Masonic venues. I had previously used the Austin Scottish Rite as an example of second-hand scenery. The used settings were originally manufactured by Sosman & Landis for Guthrie, Oklahoma in 1900 and sold to Austin in 1913. Regardless, for both fraternal and commercial theatres, it was an expensive investment. I have often wondered when drop rental houses really started as an option for theatre companies. In any case, the actual painting had to be in good shape, without dusting or fading for later reuse.
The 1893 Star-Gazette (Elmira, New York) published an interesting article that noted the reuse of old scenery for a current opera (page 5). Previously painted scenes by Harley Merry and Sosman & Landis were once again hung in the theatre. The author of the article writes, “It is a dear old scene, almost as dear as it is old,” the author wrote when referencing a setting by Merry originally used for the laboratory scene of “Herzog, the Black Crook.”
In addition to the laboratory setting, Merry’s forest scene “with the gnarled oak growing up in the middle and spreading its umbrageous branches upon the soubrette and the low comedian alike” was also used for the production, as was his “Subterranean Vault in the Castle of Wolfenstein.” In addition to Merry’s scenes, there was also the old “Rocky Pass” scene by Sosman & Landis.
In 1893, the author of the article wrote, “Next time you see these scenes have respect. They are old, true. But old masterpieces are infinitely better than new trash, and see the tribute that the manager of the “Black Crook” paid them. Who, but a connoisseur would have discovered that these despised pieces of canvas are genuine Harley Merry’s and real Sosman & Landers [sic.]. Our respect for the opera increases.”
As I was digging through old newspapers, I stumbled across other scenery painted by Merry for the Elmira Lyceum. In 1902, he was credited with the scenery for “The Fatal Wedding, a melodrama in four acts.”
The Lyceum Theatre in Elmira, New York, began as an opera house. The earliest image that I have been able to locate is a stereoscope card depicting an interior setting, artist unknown. In 1864, the bustling town of Elmira became a city and the development of the theatre block began. Silas Haight and his son-in-law Dr. Henry H. Purdy secured three lots on Lake, Market and Carroll Streets to construct an entertainment venue in a central location for its citizens, seating approximately 2000 people. The Opera House occupied the upper floor with seven stored beneath the theatre, costing a staggering $89,000. The main entrance was on Lake Street, with a side entrance on Carroll Street. It opened on Dec. 17, 1867.
Harry C. Miner’s American Dramatic Directory for the season of 1887-1888 lists the Opera House in Elmira, New York, with a population of 30,000. The proscenium opening was 30’ x 25’ with a stage measuring 48’ x 75.’ The height from stage to groves was 16 feet with a rigging loft at forty feet above the stage. The depth under the stage was 10 feet. The directory specifies that there were thirty-three sets of scenes for use. The stage carpenters were Matt Lockwood and John Brown. No specific scenic artist was listed for the creation of the scenery collection. This suggests that multiple scenic artists or studios created the painted settings.
In 1904, the Lyceum Theatre was rebuilt after being destroyed by a fire. The majority of images available online depict the Lyceum’s interior and scenic art by W. R. Clark. Clark also is also credited with the scenery for the Victoria Opera House in Goderich, Ontario, Canada.
By 1906, Julius Cahn’s Theatrical Guide, Vol. 11, describes the new Lyceum in a city of 40,000. The new venue now accommodates 1,675 people, the proscenium measures 38’ x 38’ with the height to the rigging loft at 66.’ The height to the fly gallery was 25’ with a paint bridge. W. R. Clark was noted as the scenic artist and H. Bouille as the stage carpenter. The new building included 18 fire exits.
There were two other performance venues in Elmira, the Academy of Music and Stancliff Hall.
To be continued…
