I spent much of yesterday examining a drop curtain painted by William Thompson Russell Smith (1812-1896) in 1858. At the time of installation, a local newspaper placed his work alongside that of other scenic artists whose work hung in many prominent New York theaters.
On October 7, 1858, the “Daily Herald” in Wilmington, North Carolina, reported, “There are many theatres there [New York], but none which possesses even a decent drop curtain as a work of art. Take the great Lyric Temple on Fourteenth Street, what have we there? A large masse of elaborate drawing, a pile of impossible architecture, devoid of the poetry and charm of color, and feeble in light and shade. Again at Burton’s there is an extensive canvass, the subject the town of Miessen, Saxony, celebrated for the clay which forms the world famous Dresden china, treated in a tame and common place style. At Laura Keene’s there is another mass of incongruous architecture, with great plethoric Shakespeare in the centre, at whose feet are some figures of sitting boys holding scrolls, having the appearance of very uncomfortable seat, and dangerous liability of slipping off. At the Broadway, the subject is an allegory, something of Shakespeare-for the Bard of Avon is unmistakably there-but what is about, must ever remain as inscrutable as the Egyptian Sphinx. Then at Wallack’s and the Bowery, we have one, a view on the Hudson, the other the Falls of Niagara, neither possessing a single feature entitling them to rank as works of art. The province of art, as of poetry is to expand the mind, and prepare it for the reception and diffusion of elevated ideas and reflection. And in this respect, has Mr. Smith well chosen his subjects. There are doubtless, who would have preferred a local, or national subject for a drop curtain.
“Without desiring to ignore the beauty of American scenery, or importance of many of our historic annals, let us fairly place the picture before us in the balance, and find out what are its superior attractions and intellectual teachings.
“Americans must bear in mind, that–nationally–we are but infants. We present to the world the nucleus of a great Future, the artist has portrayed the customs and great beauties of the great Past. Therein lies the lesson.
“On the banks of a beautiful river–an arm perhaps of the fair [Argean]–rises a majestic Temple of the Doric order, grand and imposing in its proportions, pure in details. On the steps of the portico a mystic ceremony is taking place. The Seers, are invoking the protection of the Gods on some favored warrior, perhaps, who is evidently about to embark on a warlike expedition, indicated by the fleet of gallies ‘peacefuly slumbering’ on the golden waters.
“When the eye has thoroughly scanned and surveyed the varied beauties of the pictures; then let the mind enquire who were those people who related such imposing edifices, sailed on such gorgeous gallies; and lived in a land of perpetual sunshine?
“As we said before, the picture is a perfect study and well worthy of an extended visit….We predict an entire success to Mr. J. F. Marchant and the new Theatre.”
The fact that this curtain still exists is unbelievable when considering that much of the original scenery was repainted over the years, and then replaced multiple times when the stage was enlarged and repeatedly renovated. The drop itself was widened, shortened and “tweaked.” Regardless of the alterations, Smith’s original design and painting radiate from the fabric.
When looking at the overall history tied to both the curtain and the theater, it is remarkable that anything remains of Smith’s painting. This significant cultural artifact disappeared and reappeared over the years, yet kept returning home. The drop curtain now permanently hangs in the lobby, greeting each new patron who arrives to see a performance at Thalian Hall.
I am going to devote the few posts to what I discovered yesterday about the drop curtain and the prolific artist who painted it. Simply put, this curtain is a national treasure.
To be continued…
