As the Song Goes, “Always Look on the Bright Side of Life” (cue the whistling). It was an appropriate tune while repairing the crucifixion scene at the Pasadena Scottish Rite Cathedral yesterday.
Last November, the Crucifixion backdrop at Scottish Rite in Pasadena, California ripped in two. The damage was instigated by a horizontal tear near the top batten on the stage right side. I had notified the Valley about this impending problem during my visit in August 2016 when I was evaluating their scenery collection. At the time, the rip had temporarily “paused” at a vertical seam. It took fifteen months before the rip would finally break through that seam and continue across the drop. Near the center of the drop, there was another weak spot in the fabric, causing the rip to change direction and become a vertical tear.
In addition to this massive damage there were many other problems, punctures and previous repairs throughout the drop. One of the patches was attached to the drop with hot melt glue, making me cringe as this particular adhesive destroys historic fabric.
It is impossible to remove without destroying the fabric, but cannot remain as it does not provide adequate support. In short hot melt glue cause more damage to historic fabric than almost anything else – except water. All of the previous patches on the Crucifixion drop were also starting to fail and needed to be replaced.
If this damage weren’t bad enough, there were two other factors were at play: extremely thin fabric and a later application of flame retardant.
The fabric was akin to fine theatrical gauze. I had never encountered such a fine backdrop material before and was shocked at the choice. The translucent areas had been left as raw muslin and darkened over time, especially with the application of flame retardant. The particular formula of flame retardant in 1949 stained much of the fabric, giving everything a slight look of pale rust stains. Flame retardant, applied “after the fact,” also left standard damage that included flaking paint and crunchy fabric. The combination of these two factors made some areas of the drop feel like old tissue paper, ready to crumble at a moments notice. The combination of all the above-mentioned elements contributed to an even larger problem; all of the vertical seams were starting to fail.
I had anticipated the two large rips and needing to replace some previous patches. I had not anticipated the failing of all seams, nor had the pictures depicted this particular issue as I corresponded with the Scottish Rite representatives over the past few months. I had allotted a two-day repair with hanging the drop on the morning of my departure. There would be no extra time for me as I had another project waiting at home.
Immediately upon my arrival at the Burbank airport, we dropped off my supplies at the Temple before heading to my hotel. My flight had been delayed and it was after 1AM in the morning when the plane landed. Upon visiting the Scottish Rite, I assessed the damage and felt that familiar sinking feeling of impending doom. As the damage was far more extensive that anticipated, I began my preparations for the next day by 2AM.
Unless I managed to put in about five days time in 2 ½ days, the drop would never be ready to hang before my departure. I knew that I would never be able to see it hang, but I could make sure the drop was repaired. Yesterday was a long day, 9:00AM until 11:30PM. On the bright side, I will likely make my target. What I did manage to accomplish was the following: carefully removing the remaining wooden battens; preparing the space for restoration; cleaning the damaged areas; and reinforcing the splitting with vertical patches.
One more day of my life spent crawling around on my hands and knees over historic scenery. Regardless of the physical strain, lower back paint, and sore shoulders, I was blissfully happy (as almost always). There is something wonderful about trying to revive a scene that most would deem unsalvageable and likely find its way into a dumpster. For me, it would be unconscionable to walk away, explaining that the vertical seams were failing and no amount of help could salvage the torn remnants. I decided to look at it as a challenge a make the best of my time here.
In the morning, I presented the various options for repair to the President of the Temple Building Association in light of the new discoveries. We decided to apply a vertical patch to each seam as there was not time or material to back the entire drop. There are several reasons for selecting this method, timeframe being the most important. So, I cleaned the seam and began slowly patching each of the eleven vertical seams. I needed to finish all of them the first day, so that I could focus on the actual rip next and the reinforcement of the top and bottom the second day.
Hi ho, hi ho, it’s off to work I go.
To be continued…
