My past few posts have explored the lives and careers of Charles L. Hoyland and William H. Lemle. Hoyland and Lemle were involved with the Allardt Advertising Co., Hoyland-Lemle Advertising Co., Lemle-Barrett Co., Charles L. Hoyland Co., William Lemle, Inc., and Lemle Studios in the 1920s. While completing preliminary research for each artist and their respective studios, I came across an interesting article about an illuminated curtain, one that the Hoyland-Lemle Advertising Co. delivered to the Majestic Theatre in Cedar Rapids, Iowa. It is worth mentioning before I return to the life and career of scenic artist Thomas G. Moses (1856-1934)
On May 18, 1923, the Cedar Rapid’s “Gazette” reported, “An illuminated curtain presenting a street scene has been added to the equipment of the Majestic theater. It is one of the latest developments in theatrical accessories and adds much to the effectiveness of the stage scenery. The curtain was installed today by H. L. Winckler of the Hoyland-Lemle company of Chicago, one of the largest curtain advertising companies in the country. The curtain is built so that the manipulation of lights it presents either a night scene or a day scene. An artistic coloring effects effect results when soft lights are turned on back of the curtains so that it appears as a panoramic view of the city at night. Many local business firms have reserved space on the curtain which provides an excellent background for their advertisements. The curtain will be shown for the first time Sunday when the Dixon Players open an engagement here.”
This is a translucent street scene with advertising spaces placed in the composition. The advertisements were incorporated into the architecture of buildings, street signs, walls, marquees, windows, etc. This also means that the ads were visible during the production, an appealing prospect for any merchant. In a way, it’s similar to a brand name product appearing in a television show or movie. Traditionally, advertising curtains were lowered at specific times during a production, coming in between scenes or acts. Ad spaces traditionally created a border around a central composition. They were also incorporated into the ornament of the surround. Over time, the number of ad spaces multiplied, greatly encroaching upon the central picture and reducing its dominance in the overall composition.
The “Gazette” article’s use of “illuminated” indicates translucent sections on the ad drop with backlighting. In other words, street lamps, windows, or stars in night sky would glow for the nighttime depiction. The street scene was a success.On June 2, 1923, the Gazette reported, “Last night was the first time the boys had seen the new illuminated curtain at the Majestic and when it was shown, they burst into a round of applause” (page 15).
I am attaching a few examples of similar deigns from the Twin City Scenic Co. collection at the University of Minnesota’s Performing Arts Archives. Each design could have incorporated translucent sections into the design, thus appearing illuminated.
Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.
View all posts by waszut_barrett@me.com
