Copyright © 2020 by Wendy Waszut-Barrett
Nineteenth-century “stage trimmings” referred to painted settings that included drops, wings, shutters, and borders. Stage trimmings also included the proscenium border and wings, both painted elements that accompanied most stage settings regardless of their composition. The proscenium border and proscenium wings were later known as the grand teaser and grand tormentors, or grand tormentor wings. Newspaper descriptions of nineteenth-century proscenium drapery frequently credited the skills of a scenic artist, verifying that theses were painted elements. Often permanently positioned immediately upstage of the proscenium opening, they were only removed for larger spectacles that necessitated the entire stage space, such as acrobatic acts, tightrope walkers, and the like. Otherwise, the proscenium side wings and proscenium borders remained in place for most productions.
Once the drop curtain was raised for a performance, proscenium wings and borders provided the first layer of masking for any scene. These stage elements also provided a visual transition from painted decor and architectural ornamentation in the auditorium to painted illusion on the stage. They unified the auditorium and stage in historic performance venues. Of all the painted pieces delivered by a scenic artist, these elements were the most viewed by any audience member.
Over time, proscenium wings and borders were replaced with ornate or plain fabric versions, forever altering the audience expectations and the framed presentation of painted illusion. Fabric valances, grand borders, drapes and close-in curtains became standard masking for proscenium openings by 1930; their initial popularity beginning over a decade earlier.
From 1881 to 1883, Tryon delivered new stock scenery for the Tabor Grand Opera House and Tivoli Theatre in Denver, Colorado, as well as the Springville Theatre Hall and Salt Lake Theatre in Utah. These were just four examples of the hundreds of theatres stocked with scenery painted by Tryon throughout the duration of his career. The stock scenery collections were produced over time, with each piece being unveiled to the public as part of a setting for a touring show or local production.
On May 21, 1882, the “Colorado Daily Chieftain” credited Tryon with the new scenery for the Tivoli Theatre in Denver. Of the scenic appointments, the article reported, “The stage trimmings will be of the most handsome and costly character. Mr. Henry C. Tryon, scenic artist of the Tabor Grand Opera house, Denver, having charge of the work, which will be finished in good season for the grand opening Monday evening” (page 3). Advertisements promised “Complete set of new scenery! From the brush of Henry C. Tryon, scenic artist of the Tabor Grand” (“Colorado Daily Chieftain,” May 24, 1882). By June 1, 1882, the “Colorado Daily Chieftain” announced, “Henry C. Tryon, the scenic artist, is making constant additions to the Tivoli scenery. The gentleman has few superiors in his line” (page 3).
Immediately after this project, Tryon headed west to paint new scenery for the Salt Lake Theatre and Springville Theatre Hall in Utah. For the Salt Lake Theatre, Tryon painted one scene after another, used by touring troops and the Salt Lake Theatre Dramatic Combination company. His work was featured in “Old Shipmates,” “Not Guilty,” and “Under the Gaslight,” to name a few that fall. For “Under the Gaslight,” “The Salt Lake Herald” reported, “This piece has been thoroughly rehearsed, and the new scenes by Mr. Tryon will be used and assist materially in the effectiveness of the production. The piece will be well given and draw a good house.”
In a review of Tryon’s new ship scene used in “Old Shipmates” that fall, the “Deseret News” also discussed other scenic pieces painted by the popular artist. The article reported, “The new drapery and proscenium wings and borders painted by the same and talented artist, will be exhibited that evening for the first time” (October 24, 1883).
An article entitled “Theatre Improvements” in the “Deseret News” described his new proscenium wings and borders (18 Oct 1882, page 3):“Two heavy white marble columns placed on each side of the proscenium opening, surrounding and partly covered by rich crimson drapery, support a continuation of the same drapery, arched in Pompeian form, and with details carried out in a similar style. Immediately behind the arched opening formed the front drapery border, hangs a simple lambrequin of white satin, with a gold medallion fastened to the center of the principal festoon, in which is graven the beehive of Utah; surrounding the medallion are thistles on one side and roses on the other. The prevailing colors of the arch border are rich crimson and gold, the heaviest lightened up with black. The corners of the arches are weighted down by medallions of gold, varied by reliefs in white marble. The whole combination includes richness contrasted by extreme delicacy, and care has been taken that each, while harmonizing with the other, shall be separated by graceful continuous masses. Masking the top of the leading drapery hangs close to the proscenium another maroon ‘border’ with a medallion and drapery surrounding it, looped closely. The medallion in the centre is placed there as the response to those at the extreme ends of the drapery. This last border is hung in front of the drop curtain. The others about six feet back form the proscenium.”
Each piece of Tryon’s stock scenery was gradually unveiled to the public from the fall of 1882 through the spring of 1883. Tryon initially painted a ship setting and a steamboat setting. His work was congratulated, and newspapers reported, “the new ship scene recently painted by Mr. Henry C. Tryon, of the Tabor Grand Opera House is acknowledged to be one of the most realistic sets ever put upon the stage” (Ogden Standard, 30 Sept, 1882, page 3). On Nov. 25, 1882, the “Salt Lake City Herald” reported that new scenes painted by Tryon included a snow scene, woods scene, street scene, and prison setting (page 8). By the end of May 1883, the “Deseret News” reported “The forest scene, painted by Henry C. Tryon, introduced last night and this afternoon in ‘The Serf,’ is a masterpiece. The foliage borders transform the stage into the appearance of a dense wood with actual timber, over hanging and spreading branches and leaves. It is the nearest approach to nature in the department of scene painting we have ever seen” (May 26, 1883, page 5).
Tryon’s stage trimmings, like those of many scenic artists, made news throughout the second half of the nineteenth century in America. The works of scenic artists were advertised, reviewed and applauded. Painted scenery by well-known artists drew crowds and added to the credibility of each performance. By the onset of the twentieth century, the listing of specific scenic artists in newspaper reviews began to diminish. The detailed descriptions of stage settings were gradually replaced with articles about other technological advancements in stage machinery and lighting. The presence of scenic artists, once celebrated in newspapers, began to fade; their identities hidden backstage at many venues.
To be continued…
