Part 392: The Greenwood Family of Scenic Artists
In 1889 W. J. Lawrence listed some prominent English scene painting families – the Greenwoods, Grieves, Stanfields, Callcotts, Dansons, Fentons, Gordons, and Telbins. This installment looks at the Greenwoods (The Theatre Magazine, July 13, 1889).
In 1796, the scene painter “Tom Greenwood” was the painter at the Drury Lane Theatre. He who worked with Thomas Bank, and both painted for a “Harlequin” production (“Life of an Actor” by Pierce Egan and T. Greenwood, 1825, page 207). This was T. L. Greenwood’s father.
The obituary of Thomas Longdon Greenwood (1806-1879) reported that he was “a clever scene painter.” T. L. Greenwood came from a scene painting family. His father was the son of the scenic artist for Sadler’s Wells Theatre and Surrey Theatre (originally the Royal Circus), also painting settings for the ballet and other scenic attractions by J. C. Cross.
He later transferred to the Drury Lane Theatre and became an even more prominent artist there. T. L. Greenwood’s grandfather was the eminent scenic artist for the Drury-lane Theatre, working for David Garrick until the beginning of the nineteenth century. He was honorably commemorated by Lord Byron in his “English Bards and Scottish Reviewers.” Byron remarked about “Greenwood’s gay designs.”
T. L. Greenwoods obituary reported that he was “initiated behind the scenes of a Theatre at a very early period of his life.” Even though he was brought up to the study of medicine, which he followed so far as to open on his own account a druggist’s establishment in Clerkenwell, his inclinations were always toward a theatrical career. He was remembered for his “intimate knowledge of the Drama in all its varied forms, a practical acquaintance with every department of the Theatre and an administrative ability which was throughout his life associated with the most conscientious integrity, were rare acquirements, that he used to the advantage of others rather than himself.
When he was attached to the Olympic, Greenwood painted the original scenery for “Tom and Jerry” and Moncrieff’s extravaganza of “Giovanni in London.” He also wrote a series of pantomimes for the Surrey, Adelphi, and other theatres, “showing much originality of style and fanciful humour in treatment, and a number of melodramas and spectacles, popular at the time, proceeded from his always ready pen.”
In 1839, Greenwood joined Robert Honner in the management of Sadler Wells, when his adaptiation of “Jack Sheppard” and his melodramatic romance of “Paul, the Pilot; or, the Wreck of the Rover” obtained considerable popularity. In 1844, he was associated with Samuel Phelps in the lesseeship of the same theatre, and it took an active part in the direction of the legitimate campaign that did not end until 1860. Some years later, he accepted the direction of Astley’s for the Christmas period, and also accepted the position of Acting-Manager at the Princess’s during the early part of George Vining’s tenure. His obituary concluded with “Ever seeking out the means of rendering a kindly service to the deserving, and always prompt to assist those who could establish a fair claim to his generous remembrance, the announcement of the death of T. L. Greenwood will fall upon a large circle of the Profession like the tidings of the loss of a dear friend to whom they unfailingly turned for aid and advice in the hour of need. Those who knew him best will feel the deepest sorrow – for the loss of companionship, and hold his memory in highest esteem.”
To be continued…
