A drop curtain by Russell Smith for the Chestnut Street Opera House was described in the article “Well-known Drop Curtain in Philadelphia Theatres,” published in “The Philadelphia Inquirer” on Dec. 18, 1894.
The Chestnut Street Opera House, formerly Fox’s American Theatre, was rebuilt and refurbished in 1877, opening under the management of George K. Goodwin in 1877. This building is not to be confused with the various Chestnut Street theaters.
Here is the description of Smith’s curtain:
“Equally delightful is the charming landscape on the new curtain at the Chestnut Street Opera House. This is an original painting and the last masterpiece for Philadelphia from the brush of that remarkeable artist, Russell Smith. It was painted at his studio in Weldo, in 1890, and, though the artist had attained the patriarchal age of 78, it is, if possible, more exquisite that any of his former triumphs. Indeed, age seems only to have ripened his genius and steadied his hand. The whole ensemble of the picture is that of the rarest, richest beauty. It is as at a time when the dark green summer foliage is being flecked with red and gold autumnal tints. An almost indefinable dreamy languorous haze seems to fill the air and hang over the beautiful landscape.
The subject of the composition is ‘Leonato’s Garden,’ and is the first scene in the third act of Shakespeare’s ‘Much Ado About Nothing.’ Beatrice, whom nobody could woo, has crept behind Hero, daughter of Leonato, and Ursula, he waiting-maid, and overhears them telling each other how Benedick, who is sworn to bachelorhood, loves her. The poison of Cupid’s arrow sinks deep into her heart, as it was intended it should, and the fair Beatrice stealthily withdraws, determined to requite the burning love of Benedick. ‘All the world loves a lover,’ and one is inclined to condone the subterfuge by which the two hearts into a condition to beat as one. The interior decorations and furnishings of this popular home of opera are kept in harmony with the artistic effects of its beautiful curtain.
Everywhere are creamy tints picked out in silver and delicate filigree work, while pretty cupids float around through fleecy clouds of opalescent green, shading off into lightest blue to the faintest tinge of pink.”
To be continued…
