In 1912, Thomas G. Moses wrote, “Did a number of garden wings for Proctors, N.Y. for the New York Studios, and some drops for Washington, D.C.”
What is fascinating about Moses’ entry is his mention of painted garden wings for a New York Studios project. There is an extant wood wing attributed to New York Studios at the Thalian Hall in Wilmington, NC, also by New York Studios.
Last spring, I visited Thalian Hall and gave a presentation on historic stage scenery. Russell Smith painted a drop curtain for Thalian Hall in 1858; they still have it. Like many theaters, additional scenic pieces were added over the years, including some pieces from New York Studios. During my visit, executive director Tony Rivenbark pointed out a small painted wing that was tucked away. The wood wing at Thalian Hall was the last remnant of a pair, once part of a set that masked the side stages for exterior scenes. On the back of the folding wing was a New York Studios Stencil, the first I had ever encountered. Again, New York Studios was the eastern affiliate of Sosman & Landis of Chicago, started by David Hunt during the first decade of the twentieth century. New York Studios was incorporated on April 8, 1910, and lasted until its dissolution on Dec. 15, 1939.
Keep in mind that Sosman & Landis had regional offices throughout the country, including one in New York City before New York Studios was established in 1910. An article in “The Times” even mentioned Sosman & Landis’ presence in New York describing, “the well known New York and Chicago artists, Sosman & Landis” (The Times, Streator, Illinois, 14 Sept. 1910, page 5). Regardless of their east coast office, Sosman & Landis treasurer and secretary, David H. Hunt, proposed a new business venture. Instead of maintaining a regional office, he would establish an eastern affiliate. New York Studios stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle.
Painted wings for both large and small stages were the bread and butter of our scenic studios at this time. Their construction necessitated the careful collaboration between both carpenters and scenic artists. Whether they accompanied shutters, roll drops or fly drops, these painted sidepieces were necessary to complete the scenic illusion while masking backstage areas. These sidepieces were supported with grooves, stage jacks and other hardware.
Painted wings are still found at some historic venues, but seldom used. They often become the chipped sugar dish in china set that is missing its creamer. When only one wing is left, how can it be used for a production? It can’t, so it simply sits backstage in a corner, or tucked away somewhere. Such was the case at Thalian Hall. After almost all other scenery left the building, this one wood wing remained. The New York Studios wood wing may possibly be the last remnant of New York Studio, after the firm produced thousands.
Wings were just one element on the historic stage, and integral part of the scenic illusion. To simplify what was on stage in a historic theater, stock scenery collections consisted of backings (roll drop/fly drop/shutter), sidepieces (wings/tormentors), top pieces (borders/teasers) and set pieces (rocks, trees, balustrades, etc.). Keep in mind that stage terminology shifts over time. The important thing to remember is that the painted sides and set pieces are often the first things to go when a venue was sold, renovated or repurposed. A painted backdrop may remain tucked away when almost every other scenic piece has disappeared. A painted wing is often the earliest form of collateral damage while a stage is being renovated. Hanging scenery often enjoys a slightly longer life span than its counterparts, maybe because it is more difficult to remove.
The greatest amount of flat stock (wings, set pieces, profiles, etc.) is still found at Scottish Rite theaters, although those pieces are rapidly disappearing too. Why are there still thousands of extant pieces in Scottish Rite theaters? The main reason is that they are too hard to reach and the average age of Masonic stagehands is now well past retirement age. Keep in mind that the design of many Masonic stages incorporated a lofted storage area opposite of the fly rail. Today, the idea of climbing up a wooden ladder, finding the correct flat, removing a guardrail, and lowering it to the stage is often a deterrent for many Masonic stage crews. On the bright side, the lack of use has preserved many pieces. They remained quietly waiting in the wings to once again accompany the remainder of a painted scene.
To be continued…