Month: August 2024

Copyright © 2024 by Wendy Waszut-Barrett

On Saturday afternoon Mike Hume, Grit Eckert, and I had an afternoon appointment at the Georgian Theatre Royal in Richmond, England.

Prior to our visit, I watched The Georgia Theatre Experience to familiarize myself with the venue.

Built by actor-manger Samuel Butler in 1788, the building is nestled near the center of Richmond. A small alleyway leads from the town square to the stage door.

Like many historic playhouses, time took its toll on the building with areas becoming derelict over the years. Fortunately, the theatre was restored, reopening in 1963. A museum was later added in 1979.

Here are a few photographs of the building from our visit. That being said, when Mike finishes his write-up about this building, and posts it to Mike Hume’s Historic Theatre Photography there will be a link HERE.

After exploring the stage, we went below to see remnants of old stage machinery on display and the dressing room area.

Anna Bridgeman, Heritage and Administration Manager at the theater, gave us a private tour of the building, museum, and archives. She was an absolute delight to have as a tour guide!

The main purpose of our visit was to see the woodland scene. It purported to be “Britain’s oldest surviving stage scenery” by George Rivers Higgins, c. 1836.

Recently, The British Museum and BBC published the following in an online article:

The Georgian Theatre (the UK’s oldest working theatre in its original form, built 1788) holds, in its display area, the oldest known theatrical scenery still in existence: the Woodland Scene. The scenery comprises 8 wooden wing flats 9ft 6ins by 3ft 6ins, 5 canvas borders and a Forest back-drop scene 13ft 1in by 10ft 2ins. All trees in the scene can be identified as specific types. On the back is painted a Blue Drawing Room, with Fire, showing a period fireplace, skirting board and paneling and a picture frame over the fireplace. The Woodland scenery was only part of a stock of 5 different scenery pieces which had been in the Hinkins family as far back as 1820. It was painted at a scene painting shop in Royston, Hertfordshire, (previously Cambridgeshire) which was set up in 1811 by a former travelling actor – George Rivers Higgins. How and why the Woodland Scene became detached from the other pieces of Hinkins scenery is not known but it was Richard Southern (a theatre architecture historian instrumental in uncovering the history of the Georgian Theatre in Richmond, North Yorks) who arranged its transfer into the care of the Theatre trustees in 1961.

Today’s post solely focuses on a portion of the three scenic pieces currently on display. Here is a link to see the scenery in its entirety before it was removed from the stage area, preserved, and stored.

Only the woodland backdrop and two double-painted wings remain on display in the basement of the Georgian Theatre Royal. They are all well-lit and encased in glass cabinets. This makes it easy for visitors to examine without threat of harm, but difficult to photograph as a scene.

I am not going to address the conservation team’s historical analysis of the scenery or the preservation. All of the reports were shared with us during our visit and I have spent hours contemplating the final conservation process.

I am going to share my own thoughts on the manufacture and the artist who is credited with the work. By the way, my next post will solely look at the life and career of George Rivers Higgins. Higgins is credited with the woodland scene.

The backside of woodland wings is painted with two different interior settings, This was a common practice throughout the 19^th century. The interior subjects would have been labeled a plain chamber (SL) and a parlor interior (SR).

These themes were two standard stock scenes for nineteenth-century stages in English and American theaters. Whether for small halls or large opera houses, stock scenery was purchased when a stage was constructed or renovated. Stock scenes offered standard settings used in many productions.

This practice continued throughout the 19^th century and well into the 20^th century. Here is an example of stock scenery offerings from 1889:

Double-painted wings are not an anomaly. I have documented dozens in North American. Here is an example from the Tabor Opera House in Leadville, Colorado, c. 1879.

Double-painted wings makes complete sense, especially from a financial perspective. It was a practical way to conserve stage space while offering more options for productions.

The back side of a wing wasn’t always covered with cloth before painting the second composition. In some cases, the frame remained entirely visible under a coat of paint. Here is another example from the Tabor Opera House in, Leadville, Colorado.

This remained a standard practice into the early-twentieth century, especially for interior sets.

We were fortunate to have Anna open the display case opened at the Georgian Theatre Royal, and provide me with a stepladder. This meant that I could examine scenic art details. 

Without this type of access, I could have never identified a hidden composition. Upon close inspection (and without the glare of the glass) remnants from an earlier interior painting (on the backside of the woodland wings) was clearly visible.

As in many cases, the actual wing fabric and frame predate the current painted composition. Again, this could be work of two entirely different artists.

The build-up of paint on the fabric suggests also suggests multiple layers, not just two compositions.

The underpainting suggests that the previous painted composition included an onstage column, perched atop a base; the column and base emulating a type of granite.

I have identified underpainting on extant scenery before; no special machinery required, just a keen eye and photoshop.

When examining a grayscale image of the painted details and playing with contrast, numerous details suddenly become visible. Here is a quick example with white lines (in the right image) to show an underlying composition.

Here is an 19th century example of what the underlying composition could have looked like.

Keep in mind, that it was a common practice to touch-up, re-paint, and physically alter stock scenes (both framed pieces and soft goods).

In many cases used/old scenery was taken back on as credit for the purchase of new scenery. The used scenery was then enlarged and/or refurbished for another venue.

I noticed that the woodland backdrop has fabric extensions on both the top and the sides, suggesting that it was enlarged before a the artist painted the woodland scene.

Even when historic records suggest that an original piece of scenery was painted by a specific individual, the entire scene may have been refurbished/repainted by another artist (local, or visiting) at a later date. Stage managers frequently directed artists to refresh the painting when scenes began to show some wear (about every 5-10 years). 

So the woodland scene may have been originally painted delivered as a landscape, but the top painting concealed much of the original artist’s work. This makes it extremely difficult to date and/or determine the actual creator without a signature – UNLESS there is a paper trail that clearly notes who refurbished the scenery during a specific period.

Only ONCE, have I been able to track down a newspaper article that mentioned a specific artist painting new scenes on existing stock flats (ones that still existed). This was at the Tabor Opera House in 1888 when Frank Cox painted new scenes on the original shutter frames, dating from 1879.

While examining the shutters by Cox and the wings by Higgins, I was struck by their similarity. The two sets of Cox shutters are very similar in compositional layout to the woodland scene at the Georgian Theatre Royal. Here is a detail of from Higgins’ painting with a similar trunk to compare with that by Cox above.

There is something about the 1836 date for the woodland scene that doesn’t sit right with me, making me wonder when the last coat of paint was actually applied.

There is no doubt that the framework and fabric were manufactured in the early 19th century, but I wonder about the final painting. It is now very difficult to judge, as the sealer used during conservation work (for paint consolidation) adds a slight sheen to the entire composition. Therefore, we cannot tell if the underlying interior composition (the one with red and green spatter) is a different type of paint.

Yet the underpainting remains very exciting. Upon close inspection, one can clearly see the earlier scene; one with spattered pink stone columns and brown wood moulding. What I find remarkable is the use of spatter – red, green and ivory dots. This is the first time that I have encountered this type of spatter (warm and cool) on a nineteenth-century scene. I could write SO much more about this, but am going to stop here.

Below are a few more painted details from my visited to the Georgian Theatre Royal.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

This post is going to be about our journey to Settle, not the destination. I want to devote an entire post to the gorgeous drive.

My next post will be about our first theatre, visited on Saturday, August 3– the Georgian Theatre Royal in Richmond.

On August 3, 2024, Mike Hume, Grit Eckert, and I traveled from Newcastle-upon-Tyne to Settle by car.  Mike had rented the car, as he recognized that some of the theaters would be a nightmare to reach by rail. Good call on his part.

I am thankful that Mike was the driver and Grit was the navigator. This meant that I could drift in an out of conversations while taking pictures for future paintings.

When Minnesota skies turn gloomy and snow coats the ground, I revisit sunny locales with my paint brush.

August 3 was my first real vacation day in a long time. It was a much needed break from the constant stream of projects that plagued me back home. Spring and Summers have become especially busy times for me. I love my job, but I am constantly on the go. It’s a bit ironic that my most relaxing day would end up being a road trip.

Partially cloudy skies accentuated colorful hills divided with stone walls. Wherever we looked, the landscape was and dotted with sheep.

We slowly made our way to Settle, an estimated 2 ½ hrs. away. Initially zipping down the road, we caught a glimpse of the renowned Angel of the North.

Soon we ventured off the beaten path onto desolate country roads. It was a beautiful day for a relatively-short drive. This allowed us enough time to visit Durham before our afternoon appointment at the Georgian Theatre Royal in Richmond. After a quick snack of Haggis Scotch Eggs and Irn Bru, we were ready for sightseeing!

With no real plan, we walked to the biggest landmark – the Cathedral Church of Christ, Blessed Mary the Virgin and St. Cuthbert of Durham. 

Unbeknownst to me, the attached Cloisters are a popular filming location. Two Harry Potters films and Avengers: Endgame used this as a filming location. What a surprise!

After the cathedral, we wandered about town before heading back to the car park, then continuing on to Richmond.  

The Roads narrowed as we heading south, slowing our journey to a snail’s pace. They soon became one-lane obstacle courses. 

At Richmond, we had ample time to explore the town after our appointment at the Georgian Theatre Royal (the subject of my next post). We passed the Richmond Castle on our way to the theatre, a breathtaking sight in the afternoon light.

The late-afternoon drive from Richmond to Settle was spectacular. The one-lane roads were certainly a challenge to our fearless driver, but the landscape was magical. Here are a few of my favorite scenes; source material for future paintings this winter.

We finally made it to Settle, with time to walk about town before enjoying a lovely dinner at our hotel.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

My week at the Tyne Theatre & Opera House in Newcastle-upon-Tyne, England, culminated with a conference on Friday, August 2, 2024. “Theatrical Scene Painting in the 19^th Century: The Artist and the Picture Frame” was the second theatre conference held at the venue.

The first conference occurred less than a year before (Sept. 13-15, 2023), with 120 delegates attending from the UK, Europe, Canada, and the United States.

Both events were organized by David Wilmore of Theatresearch and Rachel Snape, Heritage & Development Project Manager at the Tyne Theatre & Opera House. This year, the entire conference took place upon the stage, with delegates facing the auditorium. An Act Drop was hung (in reverse, facing the upstage wall), to set the stage for the delegates. The painting was from the brush of Deborah Mitchell in 1997, replicating an earlier curtain painted by Ernest Howard for the Royal Theatre Opera House, Northampton, 1896.

The morning panel featured three papers.  

Raymond Walker (left) explored the visual aspects of Victorian scenery and how it evolved during the 20^th century. Dr. David Wilmore (center) explored the original portraits for Gilbert & Sullivan’s “Ruddygore”, now on display at a private theatre (Normansfield). Karen Thompson (right) examined the Normansfield Scenery Collection and its conservation.

After lunch we were invited back to the stage for a stage machinery demonstration. The sloats in the stage cuts supported three of the eight ground rows I painted for the venue. The previous evening David Wilmore and Colin Hopkins (Project Site Manager & Stage Carpenter) led a crew to install the ground rows.

The afternoon panel in my presentation, “Scenic Art, Past & Present”,  Grit Eckert’s presentation “We are still here!!! Scene Painting – a Historical Study and still a Theatrical Trade”, and Prof. Christina Young’s “19^th Century Scottish Scenic Painters: Paint Frame to Picture Frame”.

As promised to those who could not attend the conference, here is my Powerpoint with text:

My name is Wendy Waszut-Barrett and I come to you as a theatre historian, scenery preservation specialist, scenic designer, and – most importantly – scenic artist. My presentation will look in detail at the paint medium used by 19^th century scenic artists and its capabilities. Then I will explain how I became so passionate about the history of scenic art and how both past and present research has altered my understanding of theatre history.

Each aspect of my career creates a lens through which I view theatre history. For me, the phrase, “Preserving the Past” goes far beyond the conservation of historic artifacts; it also applies to the preserving the theatrical trades.

Although many scene painting techniques remain well-documented in various publications and memoirs, much has been lost from contemporary application – more specifically, the institutional memory in most scenic studios. I am going to shed some light on nineteenth-century scene painting practices. Understanding the nuances of the distemper painting system helps us appreciate the metamorphic nature of stage settings created by 19th- and early-20th-century scenic artists.

Distemper paint solely consists of two ingredients: color (dry pigment paste) and binder (cooked and diluted hide glue). It really is an amazing artistic medium. In dry form, both pigment and glue can be stored for decades, weathering a wide range of temperatures. There is also no waste during the painting process, as dried piles of pigment paste on a can be quickly reconstituted with water.”

In 1903, American scenic artist, Grace Wishaar (pictured on the left) explained “Distemper is a really beautiful medium. You can produce such fine effects with it! But it’s very tricky unless you know JUST how to handle it.”

Over a decade later, her colleague Frank Atkinson wrote the following statement about distemper paint in his scene painting manual “.. distemper colors change greatly in value as they dry out…the student must not let a few failures discourage him. True ‘color deductions’ will come with experience.”

In 1924, Joseph Harker described distemper paint in his publication “Studio and Stage” as ”a peculiarly difficult medium to handle” explaining “In some instances the color, when applied, dries several degrees lighter in tone than it was originally, while in others remains unaltered. Considerable skill, if I may put is so baldly, is therefore needed in the direct painting with this medium and no fixed rules can be laid down for overcoming the characteristics I have mentioned. Long and pain staking experience is alone capable of solving each fresh color problem as it arises.” For over 35 years, I have been challenged with each distemper painting project. That being said, there is no other paint I would rather use for stage settings.

Every time I pick up a brush and paint a backdrop, I become part of the scenic art timeline, continuing the legacy of those who came before me.  I still prefer painting stage scenery with distemper paint. Nothing feels quite so pure to handle, or reflects stage lights quite so well.

Let’s look at how the paint was prepared. Pigment arrived at the scenic studio in three forms – dry powder, compressed block, or wet pulp. Blocks of dry color necessitated grinding prior to their transformation into a paste.

Pigment paste was placed on a scenic artists palette and mixed with diluted hide glue, also called “size water” or “working size” or just size – hence some artists referring to this as “size painting.”  Both color and binder necessitated careful preparation, the tasks completed by skilled individuals. In larger studios, “Color men” supervised preparation and distribution of colors, as ill-prepared pigment paste (pigment granules that weren’t fully dissolved) could compromise an entire composition.”

Making size from hide glue was also a skilled task, each batch affected by heat and humidity. Water is added to dry hide-glue granules, or a slab, and slowly-cooked to a honey-like consistency, then diluted with water.

Here is an example of a scenic artist’s palette, filled with bowls of pigment paste, and a size warmer below. The pigment paste and size water were mixed together on the large palette, then immediately applied to the fabric. The preparation of pigment paste, cooking of size, and set-up of a palette takes time. However, the actual distemper painting process makes up for any lost time in the set-up. 

As presented in my paper last year, there were two prominent scenic art traditions at play in 19^th century; each defined by the viscosity (or thickness) of paint and its application. There was the use of transparent glazes (depicted in the left images) and opaque washes (depicted in the right).

Distemper was applied to scenery in two ways – “up” on a vertical frame or “down” on the floor. Both versions were transported to the United States, and referred to as “English” method (for up) and the “Continental” method (for down). Painting a drop that was tacked to the floor require long handles, or bamboo poles that extended the handle of a brush. Tacking backdrops to vertical frames often meant that either the frame or bridge upon which the artist stood on was movable.

Where do I fall within the framework of scenic art history? I am a hybrid. I was trained in the Midwestern United States using distemper paints (in the form of opaque washes) on a motorized frame at University. However, as a freelance scenic artist, pre-mixed paints and the continental method (floor) were preferred.

This is the motorized paint frame that I use in the States. My past eight shows have featured distemper settings.

Distemper paint and vertical paint frames were made for each other. As distemper paint permeates each underlying layer, drips are not an issue, even when the viscosity looks like milk. Distemper paint permeated the underlying layer, so even a drip will soon reabsorb into the fabric.  Some contemporary (pre-mixed) color may reactivate, but not to the same extent as distemper paint – there is more of a layering effect which will cause pre-mixed paints to run.

From a paint process standpoint, a motorized paint frame allows the artists to quickly and accurately lay in vertical lines without a straightedge. It is an extremely quick way to paint lines.

Which means that painting vertical drapery folds is extremely effective, as you can play with the viscosity of paint for translucent effects.

Here is a view from the back of the frame, to show how thinly the paint is applied to the muslin.

Backlit with a simple white light, muslin painted with distemper can take on the appearance of glowing silk.

Here are three of the distemper palettes that I use while painting scenery, all ranging in size for the scale of the project. I have tweaked the traditional methods to use large baking pans – easier clean-up.

Regardless of what type of paint is used for stage settings, scenic art is more. It is a way of seeing and applying color.

That being said, distemper paint is the easiest was to teach color theory and scenic illusion for the stage.

The success of scenic illusion for the stage is understanding the nuance of each color, strategic color combinations, and economy of brush stroke.

I want to get us all on the same page in terms of color, as painted illusion necessitates the alternation of warm and cool colors.  The three primary colors are yellow, red, and blue. Each primary and secondary color also has a characteristic – warm or cool.

The easiest example to see warm versus cool is yellow. I don’t want to get caught up in any specific color name – as they are dependent on suppliers. On the left is a warm yellow, and on the right is a cool yellow. 

Of supreme importance in painting is the true understanding of value – going from light to dark. The success of painted illusion is based on the contrast of value

Scenic artists paint for a distance. This means that their artwork is intended to be viewed from afar – any careful blending will make a painted composition appear “fuzzy” from a distance. That is why a scenic artist contracts both value and hue. The audience’s eye needs to work, so the scene will appear more dimensional and realistic. When you examine the painting close-up, it all falls apart into dashes and dabs – an economy of brushstroke.

There is a rule of three for value selection – light, medium and dark, to work up any object. This contrast applies to foliage, architecture, drapery painting, etc. making the painted details remain visible at a distance.

Light, medium and dark values also alternate warm and cool colors. For example, the dark base is predominantly cool, the mid-tone warm, and the highlight cool.

Even when applying the same value, some compositions – such as foliage- with place warm and cool colors next to one another. This helps give definition to the shape. This strategic color placement helps reflect stage light and accentuate painted details, providing dimensions.

Here is a drapery example (on your left) of over blending, painting that shows a lack of contrast in both value and color. It can make the subject look fuzzy from a distance. The drapery painting on the right shows the contrast of value and color; draperies that will have definition when viewed from a distance.

And if we take color out of the composition, we can still see the difference and need for contrast with value for an object to remain visible from afar.

Many 19^th-century, and early-20^th-century, scenic artists were visionaries, They fully understood how painted illusion was supported with stage machinery and lighting.  Pause – Scenic art is an interactive art form, partnering with various stage lighting systems.

Scenic artists understood the characteristics of various lighting systems, adjusting the color and value accordingly. Here is an example of scenery produced for electric light – blue, red and white, a popular combination from the 1890s to 1920s.

This all goes back to the color selection and application of distemper paint. The use of a warm and cool consistently creates a color that will reflect stage lights. Strategic color combinations increase the opportunities to reflect light – supporting day to night transitions on stage. So if you have a blue sky, you always make sure there is a small amount of warmth added (orange, red, etc.).

It was through documenting and preserving historic scenes that I realized so many backdrops could function as translucencies.

Here is an example from 1902. You can see hoe the view from behind the drop (on your right) reveals how little color was applied to the fabric.

This practice continued into the 1920s, despite stylistic changes.

Here is another comparison with a view from the front and from behind – to show how thin the paint is applied to the fabric. Those white areas on the left are stage lights shining through the fabric.

Here is a distemper detail that I painted for a Haymarket Opera Company production in Chicago, Illinois –  L’amant anonyme by the Chevalier de St. George. I firmly believe that the key to distemper painting is how little pigment is used and the body of the paint – whether it is dense or flowing.  Very thin paint, or low viscosity, will appear opaque with front lighting, but will remain extremely flexible.  That is how I was able to pack eight 27’ ground rows, ranging in high from 30 to 60 inches in a standard suitcase. Although the scene appears quite opaque, there is very little pigment applied to the fabric. When you stand behind the scenes you recognize how thin each layer of paint was applied.

Another painted detail from the same show. In many cases, we have forgotten how much we can do with any ordinary white light source placed behind a distemper drop. And this has to do with the viscosity and layering of colors. The image on the left shows a section of distemper drop under work lights. The image on the right is the same painting, but with a standard white lamp behind the painting.  Underlying colors are revealed –  transitioning the entire palette without the necessity of colored light. No glass or gels. Again, this is the metamorphic nature of distemper paint that supported 19^th century scenic illusion and spectacle.

Another detail with a gelled incandescent on the right. This is more of what we are used to. But when we combine colored front lights and illumination from the backside – possibilities are endless and the whole scene glows.

Another example of a translucency – one created with distemper paint – not dye; one that we are more familiar with in contemporary effects. This one shows how a sky can transition to sunset without the use of dyes.

Many audiences have never experienced the magical allure and metamorphic nature of distemper settings on stage.

This beauty, however, can instantaneously be destroyed with poor lighting.

When lit poorly, painted legacies from our past resemble dull-colored and thread-bare rags at best. Side light will especially accentuate wrinkles. Front light erases wrinkles in an instant.

In some cases, however, seeing is believing. Here is an 11-second video showing the transition from side light to front light.

This is nothing fancy, just a shift in direction. Keep this in mind the next time you encounter a deteriorated backdrop, because with proper lighting, some of the most damaged scenes can look fresh.

So why am I so passionate about the history of scenic art? It all started in college. As I took one scene painting class after another in college (same distemper painting class, different levels), I repeatedly queried my professor about early women scenic artists.  His response – “They were all boys, get over it.” This was not a subjective statement, or one intending to put me in my place. My teacher was teaching what he had been taught.  His statement, however, really lit a flame inside me. I decided to learn everything I could about scenic art, the people, and the processes.

Part of this quest involved extracurricular studies and museum exhibits. In 1989, I received an Undergraduate Research Opportunities Program (UROP) grant to process an historic scenery collection – the Great Western Stage Equipment Company, established in Kansas City, Missouri, ca. 1920s. I worked in the Performing Arts Archives, part of the University of Minnesota archives. This UROP grant was followed by another – Holak Collection. The second collection contained designs from two primary firms – the Chicago-based studio of Sosman & Landis Studio and their affiliate studio New York Studios.

The acquisition of these collections, spearheaded by my mentor, Prof. Emeritus Lance Brockman, was contingent upon their open access and use by students. Copy work was critical to his scenic art program.  This meant that University students could request a design, set up their watercolor palette, and replicate the composition in the reading room. In addition to copying historic designs, I enlarged them on 5’ x 5’ flats – using traditional materials and exploring painting techniques. His future hope was to digitize the collection so that theatre students, academic colleagues, and professionals would have free access to all of these materials.

From 1999-2000, I worked with these two collections, and a previous, the Twin City Scenic Co. Collection, Minneapolis, MN, to create an online digital database. I was in charge of layout, contents, text, content and assigning metadata to over 3000 artifacts.

I still return to the collection, examining details of many designs. This project has continued to inform my own research.

Assigning meta data, replicating designs, and preserving historic stage scenes have all helped me make a series of immediate connections while working on site. It is my continued work with these collections over 35 years has allowed me to immediately locate many original designs for extant curtains. For example, when I unrolled a drop curtain at the Theatre Museum of Repertoire Americana in Mount Pleasant, Iowa, last January I remembered that the design was part of the Twin City Scenic Collection in the database, and quickly located the file in the scenery database.

For me, the past continues to informed my present, as a theatre historian, scenic designer, and artist. I still have that fire burning, a drive to learn all I can, while I can.

Such was the case when I catalogued and repaired the scenery collection at a 1912 Theatre in Santa Fe, New Mexico. From 2002-2005, I led a crew of eighteen local hires to preserve this 74 drops over the course of three years. I was also leading the preservation of a sister collection in St. Paul, Minnesota – same design, same scenic studio, but installed in 1911.

From 2016-2018, I worked with photographer and one-time scenic artist, Jo Whaley, on the publication “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre.” Jo and I were the volume editors; I was also one of three contributing authors.

We were granted permission to photograph all of the scenes with original costumes and properties. Again, these were scenic designs that I first encountered in 1990 while processing the Holak collection. The descriptions, installations, sizes, signatures were all engrained in my memory.

This is one of the reasons that I am so adamant to share my research, to help jog the memories of others, whether they be theaters owners, back stage crews, or the descendants of scenic artists and designers; many historic theaters do not understand that they are part of a much larger network. It also re-frames our understanding about scenic artists, painting process, and liberties taken from design to installation.

I am going to conclude with a topic that I introduced last year during the conference, English Scenic artist Harley Merry, aka Ebeneezer Brittain. He worked as a performer and scenic artist, emigrating to the United States in the late 1860s. I bring Merry to your attention, as it brings another aspect of the scenic art trade into focus. After moving to America, Merry was integral in organizing serval groups, including the Protective Alliance of Scene Painters in America.

This organization became the current scenic art union known as United Scenic Artists. Recently, the Union produced a video about their history, still listing these men as… 

There is no doubt that each was skilled, but this group does not comprise the best that America had to offer at the time.

They only represent a small number of scenic artists working in a few specific regions. The picture is very telling, especially when you start realize those nationally-renowned scenic artists missing from the picture.

For me, these men represent those who had…

…the most to lose without establishing a protective alliance and keeping OTHER scenic artists out.

Artists like Mabel Buell. It was not until 1918 that women were allowed to join the Union – 2 years before women were able to vote. Mabel A. Buell’s late entry makes it appear that women were just beginning to enter the scenic art field; few and far between. This perpetuated misconceptions that the scenic artists were primarily white men.

It’s important to understand that when Mabel joined the Union, she was not only a scenic artist, but also was a scenic studio owner. Both she and her mother worked as scenic artists, as did her father and brother. As in many cases, it was a family affair.

By the way, this is Mable directing her employees (center picture). At times her staff numbered over twenty people.

When Mabel joined the Union, she was described as the “only girl in the profession.” Buell continued to be listed as such in the early 1920s. By this time GENERATIONS of women had worked as scenic artists. Some were wives, some were daughters, some were sisters, and some entered the profession all on their own.

Here are three examples of women scenic artists identified as the “Only” over the course of two decades. On the left is Grace Wishaar, listed as the only woman scenic artist by 1901 She had been painting for over a decade at this point. On the right is Irene Kendrick, listed as the FIRST and ONLY scenic artist in 1909. In the center is Mable Buell – pictured in the 1921; still listed as the only woman scenic artist in America throughout that decade.

Well, that wasn’t necessarily the case – Here are a few names women scenic artists from the mid-19^th to early 20^th century.

Although there are many, many more. These were women who painted stage settings and were listed as such in census reports, city directories, and newspaper accounts. Not all scenic artists were listed as such.

I believe historians try their best to represent the world as it was.  However, at some point, the contributions of generations of artists were left out of theatre history. Aesthetic shifts, new design movements, and innovative technology continue to be credited to a select few.

The use of “ONLY” to describe a female scenic artist in newspapers, sends an underlying message – they are not a threat. After all, there is only one.  The same language was used to describe scenic artists who were people of color.

Over the past few years, I have identified women, indigenous people, and people of color who worked as scenic artists in the 19^th century. Many of these discoveries occurred while writing the 120 biographies of Soman & Landis studios). This research is for my upcoming book, “Sosman & Landis: Shaping the Landscape of American Theatre.” 

Today, online databases provide massive amounts of information about individuals who worked as scenic artists. We are now able to identify thousands of individuals whose contributions to theatre history were either forgotten or ignored.  This means that we are responsible for reframing the history of scenic art and theatre history.

Women and people of color who were often not counted, but they were present, they contributed to our shared theatre industry.

WE can no longer solely teach theatre history from the same books that have been used by generations of students.

WE are completely in control when choosing the lens through which we depict our industry’s past, present, and future of our industry.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

The final day of the Distemper Painting Workshop focused on drapery painting and value. 

The goals for the day were maintaining a consistency of color and contrasting value. As previously explained, a contrast of value supports scenic illusion for the stage (large-scale paintings that are viewed from a distance). Drapery painting is the perfect example to discuss painting for a distance. Typically, the goal of this exercise is to use a thicker mixture of paint, focus on value and aim for a consistency of color.

For years, I have observed that many scenic artists take pains to carefully blend each fold in a drapery composition. Unfortunately, this ultimately destroys the painted illusion from a distance; the subject loses definition. Careful blending only works well when examining a painting from close-up, such as in Trompe l’œil murals in residential and commercial settings. The smallest details and smooth transitions that make Trompe l’œil a success are not visible on stage. Painted illusion for the stage necessitates a great contrast of both hue and value. Again, we want to make the audience eyes work; therefore, making the painted illusion appear more realist from afar. Scenic art is more akin to fresco painting on ceilings; they are also large-scale artworks intended to be viewed from a distance. Throughout my travels, I document the treatment of fabric on figures in ceiling murals. Most recently, I visited the Painted Hall in London. Here is an example of a drapery, showing a sharp division of value and alternation of warm and cool colors (see yesterday’s post for more detail color characteristics).

There is a distinct division of value; a sharp contrast between dark, medium, and light colors. This is what accentuate the folds of the fabric. To illustrate my point about the over-blending of drapery folds, I share two examples.

The scenic artist’s careful blending does not suggest a lack of skill, but a lack of understanding when painting for a distance. Drapery folds really need to be accentuated to remain visible from far away.

Here is how I decipher drapery painting; it is an approach that is based on my documenting thousands of extant backdrops over the years. 

Again, it is the rule of three for value – dark, medium, and light. From a distance, the darkest value suggests the color, a mid-tone identifies the shape, and a highlight identifies the fabric type.

For my presentation, we looked at a variety of drapery examples where I identified the three values, again and again.

This is not meant to suggest that only three colors can be used, but it is the basic approach. In the end, some folds are accentuated with a final shadow wash, and  some highlights get a “flash” (hot twinkle).

Highlights are extremely important in the end. If they are indecisive (“smudgy” and “worm-like”), it is difficult to determine either the type of fabric, or the weight of the folds.  

Here are some photographs, capturing a few moments of the drapery painting project. A special shout to Mike Hume of Historic Theatre Photos for his willingness to document process.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

Painting waves help students become familiar with distemper paint (dry pigment paste and diluted hide glue) process. Seascapes they are very forgiving, and allow a student to focus on viscosity of the paint, blending of colors, and economy of brushstroke. This is also one of those projects where the first step (basing in the water) can be slapped on, or overworked, without later consequences. 

For the second day of distemper painting workshop, the students selected one of five compositions. I am a firm believer in allowing students to select a subject that speaks to them. I hate forcing any class to paint the same picture. My rationale is that learning should never be about competition. When we all paint the same scene, a “best” painter will immediately emerge, and often steal inspiration from those around them/her/him. Most importantly, art should remain an individual journey. I believe that we learn something new, about both the painting process and ourselves, at each step of the process. Distemper painting classes should fuel a students enthusiasm for future projects.

On the first day of the workshop, we analyzed examples of distemper seascape – both historic and contemporary. I explained that there are three basic steps to painting water.

The first step is alternating warm and cool colors for the base coat; it should never be a solid color. This should depict a significant contrast in color and value. The second step is identifying water movement (waves) with a shadow glaze, and the third step is defining each wave with highlights, lowlights, and shadows. I used three process shots to show what I meant from my process for painting the wave rows for the Tyne Theatre & Opera House.

I explained that at the end of the day, the goal was not to simply copy the source, but to understand the shapes and movement in the source.

I typically recommend mixing the distemper paint for this step as thin as possible; stretching the colors so that it almost becomes an exercise in dye work.

This is often the perfect project to explore translucent effects. However, the transparency of the workshop fabric prohibited this aspect, and we went for creating a sea scrim.

For both the seascape project and the drapery project, I provided a color source and a grayscale version (to help identify value). As I was taught (by Prof. Emeritus Lance Brockman at the University of Minnesota), it is more important to match the value in a composition, than color. This frees the student to focus on technique and not copywork. I also gave the students an option to solely use the grayscale version and create their own color palette.

This option meant that everyone could chose their own path towards the finish line. Here were the three steps employed by the class the second day.

1. Alternate warm and cool colors for the base – keep a strong contrast so that it is easier to define the waves.

2. Identify waves – using a deep shadow wash, start to draw the shape of cresting water.

3. Define the waves with highlights, lowlights, and deeper shadows – keep the movement organic without creating a pattern.

Although it is human nature to make order out of chaos – to organize elements– creating patterns that are equidistant destroys painted illusion on stage. When creating scenic art landscapes, vary color and placement; this is paramount in the process.

Here are a few photos from the workshop on July 31, 2024.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

I was asked to teach a three-day distemper scene painting class at the Tyne Theatre & Opera House last fall. The workshop would coincide with my delivering new ground rows to the theatre. It was scheduled immediately before the 19th-century Scenic Art conference on August 2, 2024.

Flyers advertised:

The Tyne Theatre & Opera House are offering a 3-day distemper painting workshop with scenic painter Wendy Waszut-Barrett. The course will take place in Newcastle from Tuesday 30 July – Thursday 1 August 2024. Over 3days participants will learn historic painting techniques and create 2 paintings using distemper. All equipment including painting frames, brushes, pigments, gloves, etc. will be provided. A maximum of 12 places are available.

Day One: Introduction to Distemper Painting/Distemper Paint Preparation/ Colour Theory/English and Continental Methods

Day Two: Seascape Project

Day Three: Drapery Project

I have continued to fine-tune both the timeline and projects for my distemper painting classes; it has taken me years to come up with a framework for this type of workshop. First and foremost, it is extremely important to devote one entire day to color theory and experiencing the nuances of distemper paint.

I always try to start with a presentation about color; selection, mixing and application. Revisiting color theory as a group places all the students on the same page. It levels the playing field before trying to replicate any artwork, or understand a new application technique.

My rationale is that when you discuss color as a group, it is much easier to understand the various characteristics.

Here is my 2023 color theory presentation for CITT, if you want to see a previous workshop example: https://drypigment.net/2023/11/13/travels-of-a-scenic-artist-and-scholar-painting-workshop-at-citt-in-toronto-august-15-16-2023/

I tweak my color theory presentation for each class. It helps me grow as an instructor, allowing me revisit my own thoughts each time. I was extremely fortunate to have such a wonderful group of students and one stellar assistant (pictured below)!

As promised to the class, here is the color theory section of my presentation.

One of the easiest ways to teach color theory for painted illusion on stage is using distemper paint. Pure color (pigment paste) is combined with diluted hide glue (size).

Mixed on the scenic artist’s palette, it was immediately applied to the fabric.  The constant mixing of strategic color combinations worked with various lighting systems to promote special effects on stage.  This is why so most extant drops could transition from day-to-night scenes.

It is VERY important to not get caught up in the name of any one color, as it is the characteristic that’s important – warm or cool.

The easiest way to show color characteristics is with yellow. On the left is a “warm” yellow, and on the right is a “cool” yellow. It is very important to know the various characteristics of the colors that you are planning to mix.

The characteristic greatly affects the result in a color wheel or when mixing neutrals.

Here is an example of a color wheel with primary and secondary colors clearly marked on the ring. However, it will shift if a warm or cool yellow is combined with a warm or cool red to produce an orange.  This ultimately affects the creation of neutrals.

For example, green will shift if blue is combined with a warm yellow or cool yellow.

Also, combining blue with orange produces wonderful variations for shadows that reflect both warm and cool lights. 

We are familiar with spattering a drop to make sure that it will glow on stage, as some contemporary colors look “dead” under certain lighting conditions. That is never the case with distemper painting, as the actual painting process ensures that every color will reflect light.

For example, a blue sky, always has a little warmth (orange/red/burnt sienna) added to the color, and this allows a sky to transition from a beautiful sunrise to midday to sunset. The same can be said for mixing shadow colors and washes, whether applied as a transparent glaze or an opaque wash.

This (orange/blue) color combination appeared on historic scenery in North American, the UK, and Europe.  Here is an example from the Stadsschouwburg (Municipal Theatre), Kortrijk, Belgium.

Working with a minimal color palette in the beginning works best for understanding distemper paint. I love to show Tobias Mayer’s color triangle from 1758. It looks at a unique combination of primaries (blue, red, and yellow). In the end, it is important to select four colors (blue, red, yellow, and dark) when exploring strategic color combinations for the stage.

Once strategic combinations are understood, we move on to the application and an economy of brush stroke.

Here is an example of a floral detail from a palatial courtyard scene.

There is a basic contrast of value that must be used for painted illusion on stage. This is crucial when painting for a distance. The audience’s eye really needs to work.

When a subject is finely painted, with careful blending, like in the art of trompe l’oeil, it does not read well from a distance.  I will later go into depth about this when we get to the drapery painting project.

The flower below shows a selection of dark, medium, and light colors without any careful blending. There is a distinct contrast of color and value.

Each of these values also alternates between warm and cool. The dark-medium-light values alternate cool-warm-cool or warm-cool-warm.

Even when the same value is used (pictured below), there is an alternation of warm and cool. The strategic color placement for the foliage allows the object to shift under stage lights and appear more realistic from a distance. It reads better from the audience and does not appear flat.

Our first exercise explored both color and painting process.

Here are a few examples of my own color swatches. Before any distemper painting process, I familiarize myself with the colors, even if I have used them before. This often includes a “draw-down” so that I also know how far a color will stretch.

I divided the first project into four quadrants. The intent was for the students experiment with color and viscosity of the distemper palette.

The first step helps facilitate a basic understanding of mixing pigment paste and size. Creating basic color swatches helps us understand not only the color’s characteristic, but also how far the color will extend when thinned out. 

I believe that everyone needs a moment to experiment with a new type of paint – where the stakes are very low. It is too much to expect students to immediately replicate a stage scene with distemper paint; too much new information actually creates an obstacle to learning. This is the moment to “play” without any self-judgement.

The second quadrant of the first project was to test the opacity and value of each color. It was an opportunity to also experiment with neutrals that would be used on the upcoming projects. I firmly believe that if you know the range of your color palette (what colors can be achieved), you are one step ahead of the game.

Typically, the next two quadrants of the first project would be two color wheels. However, for this class we jumped into base coats – practicing for the next two projects.

In the end, this proved invaluable, as each student had a chance to work with color combinations and application techniques that would be used in both their seascape and drapery projects.

We learned a lot that first day while overcoming a few obstacles. The stage lighting proved to be a bit of a challenge, as did the fabric weight.

I will start with the fabric and pigments.

Although not quite what I expected, the workshop fabric was the same texture and weight that I have encountered with dozens of historic drops, c. 1890-1920. 

It was a cross between a theatrical gauze and very thin cotton sheeting. The silver lining was that each composition could function as a transparency – another great learning opportunity!

Here are the slides that I added in my presentation to address this particular aspect/challenge of the projects:

I first explained the similarity in materials that I had documented throughout my career. Mill stamps are a delight to find on an extant scene.  The fabric delivered for the workshop was almost identical to that used by J. M. Deeds Scenic Studio in Spokane, Washington, in 1915.

As is the case with most painted scenery, when lit from the front, it all looks opaque. In many cases, it even looks like the painting is on the thickest canvas available. And here is where I want to take a moment and comment on industry standards and variables.

We take it for granted that the scenery fabrics in current use have remained mostly unchanged over the years. That is simply not the case; nor was it the case a century ago. Materials are always dependent upon location, supply, demand, budgetary parameters, and world events.

I agree that there was some consistency in larger metropolitan areas. This was primarily due to client expectations, suppliers and distributers. However, not everyone delivered scenery to prominent New York or London venues.

There was a whole other world where skilled scenic artists in distant locals used a variety of materials. In more rural settings, a wide range of cloth was employed for theatrical scenery, yet the inferior fabric did not detract from the painted illusion.

Here is a detail of extremely thin fabric beneath a distemper painting from the scenic studio of J. M. Deeds in Spokane, Washington, c. 1915.

This type of fabric was popular for its versatility under various lighting conditions.  For example, it was popular for the revelation of a hidden artifact. The detail below shows a 1915 example of a transparency in the center of a treasure chamber scene at the Masonic Theatre in Grand Forks, North Dakota. This is a 1915 drop manufactured by Sosman & Landis Scenic Studio of Chicago, Illinois.

Here is another early-20^h-century example from a theatre in Quincy, Illinois. This was a 1912 transparent drop (same function as a contemporary scrim) manufactured by Toomey & Volland Scenic Studio of St. Louis, Missouri.

And lastly, here is a transparent drop that was produced by Becker Bros. Scenic Studio of Chicago in 1930 for the Scottish Rite Theatre in Moline, Illinois.

Unlike contemporary scenic paint on shark tooth scrim, when holes are filled in the open-weave fabric, it does not destroy the scenic illusion on stage. One could argue that unless the majority of holes in a shark tooth scrim are filled, the entire scene will still successfully function as a transparency on stage.

Here is another view of the same drop from the wings.

The scenic studios of Sosman & Landis, Toomey & Volland, and Becker Bros. were major theatrical suppliers in large metropolitan areas. In the end, the weight of the fabric was often concealed by the skill of the scenic artist.  Using a less-expensive fabric also increased the overall profit margin for many studios. As we learned in the workshop, it paints up quite well.

Here is how the our first day of class went after my PowerPoint presentation… We initially worked as a group, cooking size in the morning. Flints Theatre Chandler (https://www.flints.co.uk/ ) supplied the rabbit skin glue (https://www.flints.co.uk/product/all/adh098500 ) and dry pigment (https://www.flints.co.uk/products/haussman-dry-scenic-colours?page=1 ) for this workshop.

To cook the rabbit skin glue on the stage, we used a double boiler on a hot pot, placed on a metal table. You can successfully use a variety of appliances that use indirect heat – this is just one method. I have often picked up crockpots to cook glue too.

A side note on selecting animal glue… I personally used a combination of hide glue and technical gelatin (high-clarity). In the past I worked with the chemist at Bjorn Industries . The company offers a variety of hide glue grades, ranging in strength and clarity. Their is also a quaint family-owned aspect to the company, with their products being delivered in a Ziplock bag.

For the Distemper painting workshop, we used the following HATO pigments:

Lemon Yellow, Chrome Yellow, Indian Yellow, Raw Sienna, True Orange Medium, True Red Light, Ultramarine Blue, Turquoise Blue, Crystal White.

And two pigments from Mylands: Burnt Umber and Raw Umber.

Everything went well, but I really missed my two standard colors: a cool red (one to counter the warm red) and a really dark brown (Van Dyke). Although black was available, I refuse to place that on my scenic art palette (unless it is for a sign painting project). That is a whole other discussion and has to do with stage light.

Fortunately, the Raw Umber was uncharacteristically dark, almost filling the Van Dyke gap. Despite this minor deficit, the projects did not suffer from a lack of color options.

I am also going to address pigment quality and availability. For me, even poor-quality dry pigments are better than pre-mixed scenic paints.

I also consider sustainability when planning a scenic art project. The distemper paint system is a relatively green process with very, very, very little waste. In its dry form, color and hide glue can be stored for decades. Dry pigment paste that dries on a palette, or in a pail, can also be reconstituted, again and again. The only waste is size water that has turned. However, the shelf life of size can be greatly extended if stored in glass, left uncovered, and refrigerated. It can easily keep for up to a month in proper conditions.

I’ll start with a note on the Flints website concerning their Dry Scenic Colors:

Flints have struggled to maintain a regular supply of good quality Dry Powder Pigments so we have now decided to stock this excellent range from Germany. Haussmann have been producing these fine pigments for many years, so we are very confident that we will be able to provide you with a consistent range of excellent quality scenic powder pigments with some really vibrant bright colours plus a good selection of earths. A hand painted colour chart is available for a nominal sum. Please note, the Raw and Burnt Umber pigments are now from an alternate supplier, as Haussmann are no longer able to supply them. We have elected to do this in order to ensure we can supply an adequate range.

It is wonderful that Flints carries dry colors, and there are many pros to using the distemper painting system. Here is a slide that I included in my presentation:

Also, if you are looking for a color that is not carried by a theatrical supplier, check out the fine art world.

Here are a few other dry pigment suppliers:

Sennelier (https://www.sennelier-colors.com/en/Pigments_17.html )

Gamblin (https://gamblincolors.com/oil-painting/color/dry-pigments/ )

C. Robertson & Co. (https://www.croberson.co.uk/other-brands/cornelissen.html )

Lutea (https://lutea.be/en/ )

Bulk Apothecary (https://www.bulkapothecary.com/pigment-powder-colors/ )

Rublev Colours (https://rublevcolours.com/products/ )

This is not a finite list, and dry pigment is available from numerous art stores, including Dick Blick, Jackson’s, Jerry’s Artarama Art Supplies, Etsy, Archsupplies, and more. Dry pigment is far easier to purchase now, and more readily available, than thirty years ago.

Throughout the duration of the Distemper Painting Workshop, the stage lighting proved to be a challenge, in term of both temperature and direction. However, we were able to rearrange the frames and add some lighting booms to resolve some of the issues.

By the end of the first day, we recognized that two rows of projects created very poor lighting conditions in some areas.

We opted to have a single row of frames, placed directly between two main light sources hanging above the stage. This provided a general wash that equally illuminated all of the projects. It also allowed students to view their projects from the auditorium.

Additionally, we placed a sheet of black plastic between the frame projects, blocking light from the other side, as the fabric was so thin. This was Grit Eckert’s idea, as she was reminded of some scenic studios who used black behind the vertical frame when painting transparent scenes.

I want to take a moment to thank Grit for her amazing assistance throughout the entire workshop. She was there to document the process, as well as lending a helping hand whenever needed. It would not have been possible to run this class as smoothly as it went without her assistance.

My next post will look at seascape projects, and why this type of exercise may be the best introduction to distemper painting.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

David Wilmore and I began discussing new ground rows for the Tyne Theatre & Opera House last fall. It was during a stage machinery demonstration that Wilmore mentioned my name; they were ready for new scenery. Before my departure, the following plan was hatched over a pint of beer.

Our plan: I would design and paint eight ground rows with historic pigments in the US and fly them over, packed in my suitcase.

From the beginning, we planned that I would use traditional materials and techniques; painting the ground rows on a vertical frame with distemper paint (pigment paste and diluted hide glue). This is also what made it possible to fold all of the ground rows into a compact little bundle and not worry about creasing.

Initially, I planned to paint eight water rows, each measuring 3’-0”h x 24’-0”w. However, size, construction, and composition were bantered about, and in the end there were four water rows and four ground rows; the new width measuring 26’-6” wide, with heights ranging from 30” to 60″. Furthermore, each ground row would breakdown into three pieces (for easier handling and storage). The design anticipated that certain sections would be removed with additions constructed at a later date.

Once the sizes were finalized, I began to design each row. Using pastels, I completed a few quick sketches to indicate color palette and layout. I really like using pastels to quickly convey an idea, especially when the final scene is paint in distemper.

A detailed rendering was my next step, and now we were off to the races!

Using 126”-wide lightweight muslin, I tacked two 27’-6” long swaths of fabric. I have taken to using this particular width as it perfectly fits on the paint frame. This saves me a ton of time in the long run.

I budgeted five days to set-up, paint, tear-down, and pack-up the eight ground rows.

I started with the water rows: three rows on the top panel and one row on the bottom panel. As pictured below, the top fabric would contain the 30”, 40” and 50” high water rows. The bottom panel would contain two 60” ground rows (water and foliage).

When the water rows were finished, I replaced the top fabric panel (water rows) with a fresh piece of muslin for the foliage rows. I masked the completed water row on the bottom fabric panel with plastic. Sometimes I throw paint a little too freely!

Each set of ground rows took approximately two days, leaving me a little extra time to pre-hang the panels in the nearby theatre and make sure that everything lined up. This also allowed me to double- check that the painted illusion read well from a distance.

I was also able to document the viscosity of the painting. Over the years, I have learned to use less, and less, paint. THAT is the key to distemper painting!

It was while documenting historic scenery collections that I began to realize how little paint was applied to the surface of historic drops; and it wasn’t because it had all dusted off. Applying thin coats of paint not only means that every drop can function as a translucency, but also facilities packing for a tour. This was also not the first time that I have packed painted scenery in a standard suitcase, so I knew how much wiggle room that I had to work with!

When packing the ground rows, I simply layered them from widest to narrowest before folding.  All eight ground rows easily fit in a suitcase, with room to spare.

Distemper scenes traveled very well, without any horrific wrinkles or creasing.  I sometimes think we forget how hearty this type of scenery can be. Only water poses a threat to newly-painted distemper scenes.

After spending five days in a suitcase, as I journeyed from Minneapolis to London, and then Newcastle-upon-Tyne, they were unfolded at the Tyne on Monday, July 29.

Over the next few days, three of the eight ground rows frames were constructed, so they could be used in the demonstration on Friday, August 2. Only the edges of the fabric were glued to the prototypes (less than an inch). It will be removed and attached to the final version. The final version will have more detailed edges to accentuate the individual leaves.

On Thursday evening, August 1, the ground rows were installed and operated for the first time.

Watching this all come together was one of the more exciting moments of my career.

There is nothing quite like seeing your paintings tucked amongst stage machinery. It was a remarkable experience!

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

An image from my article, A Forum for Progress, made the cover of DIE VIERTE WAND #012!

This is my sixth article for the magazine. It examines an 1897 Sosman & Landis stock scenery collection delivered to Forum Hall. Now known as The Forum, the venue is located in the Bronzeville neighborhood of Chicago, an area that later became known as the Black Metropolis.

The new issue is now available online:

http://www.dieviertewand.com/index.html

or

https://archive.org/details/@d4wglobal/lists/2/d4w-global

DIE VIERT WAND is bi-lingual (German and English) publication with articles about theatre submitted by authors worldwide.

I have Chris Van Goethem to thank for my introduction to Stephan Gräbener, editor of the publication. In 2017, Van Goethem shared an email Gräbener, calling for articles:

The Initiative TheaterMuseum Berlin e.V. is planning its next issue of DIE VIERTE WAND.

As usual we’re going to offer articles about all aspects from the world of the theater.

Historical or contemporary, research, science, theory or practical reports.

Whatever you might think of.

The term „theater“ is synonymous for all kinds of performing arts.

My first article, Staging the Scottish Rite: Degree Productions of Freemasonry, was published in DIE VIERTE WAND #007.

I continued to submit articles for the publication over the years:

#008 – Raising Hell on a Masonic Stage

#009 – Brown’s Special System for Scottish Rite Theaters in North America

#010 – American Scenic Art: The Immigrant Contribution

#011 – Sosman & Landis, Shaping the Landscape of American Theatre

In 2019, I was delighted to meet Gräbener in person at Stage|Set|Scene in Berlin, Germany.

Stefan Gräbener at Stage|Set|Scene. Berlin, 2019.

All back issues of DIE VIERTE WAND #001-#011 are still available via the website and the Internet Archive.

To be continued…

Copyright © 2024 by Wendy Waszut-Barrett

You may have noticed that it has been a while since my last post.

When I’m not on the road for work, my life consists of scenery preservation, presentations, master classes, writing, scenic design, art, and caretaking (people, places and things). I wrote a similar statement last year, about the same time.

I just returned from a trip to England and Wales. The impetus for my travel began last fall at the Tyne Theatre & Opera House.

View of Newcastle-Upon-Tyne from my hotel window on July 29, 2024.

The Tyne Theatre & Opera House on July 30, 2024.

The Tyne Theatre & Opera House. Photograph by Mike Hume, August 2, 2024.

Last year, on Sept. 15, 2023, I presented a paper at an international theatre conference. 120 delegates attended the event, representing the UK, Europe, Canada and the United States.

My presentation, Stage Craft and Spectacle: Immigrant Contributions to North American Theatre, was part of the Tyne Theatre & Opera House Conference: Victorian and Edwardian Theatre in Performance, Music & Machinery – Stagecraft & Spectacle. Here is a link to my 2023 presentation from last year:

Travels of a Scenic Artist and Scholar: The Tyne Theatre & Opera House Conference, England, Sept. 13-15, 2023.

I was part of a session entitled Beyond Great Britain, one that included Mike Hume and Rick Boychuk. They discussed the Booth Theatre and Auditorium Theatre, respectively. Here is a link to more information about the conferences and individual sessions: https://www.tynetheatreandoperahouse.uk/international-conference/

The 2023 event was organized by David Wilmore of Theatresearch. On the final day of the conference delegates were able to watch the functioning stage machinery from both above and below stage.

David Wilmore explaining the stage machinery to delegates. September 15, 2023.

The 2023 conference was a truly a celebratory event, unveiling almost two decades of hard work to rebuild the entire stage house after a 1985 fire.

The theater’s website explains:

Our machinery is one of the only surviving examples of Victorian wooden modular stage machinery in the UK and is of huge historic importance. Prior to the theatre fire in 1985, the machinery was used regularly by fully trained volunteers in productions. Now however there is a real risk of losing historic knowledge from previous years. We are therefore developing a team of committed volunteers who will be trained in the operation and restoration of this machinery.

For more information about the Tyne’s Historic Stage Machinery, visit: https://www.tynetheatreandoperahouse.uk/historic-stage-machinery/

At both conference’s Wilmore provided context for the machinery, giving a full explanation of the bridges, cuts, and sloats during various demonstrations.

Sloats emerging from the cuts at the Tyne Theatre & Opera House. Sept. 15, 2023.

During the 2023 demonstration, Wilmore commented that they were ready to install new scenery. Before my departure, the following plan was hatched over a pint of beer.

Our plan: I would design and paint eight ground rows with historic pigments in the US, then hand-carry them in my suitcase.

In addition to delivering the scenery, I would teach a three-day distemper painting class while the scenery was being installed. The project would culminate at the end of the week with another international conference, featuring 19^th-century scenic art.  The conference would also include a demonstration of the stage machinery, now complete with my scenery attached to frames on the sloats. Less than a year later, we were attaching frames to the sloats, just prior to the conference.

Attaching frames to the sloats on August 1, 2024.

So how did this all come to be?

In the fall of 2023, a survey was sent out to various organizations, inquiring about potential interest in a three-day distemper painting class. There was an overwhelming response, prompting the entire project to move forward. 

As dates were finalized for the summer of 2024, a secondary “travel trip” was hatched with Mike Hume (https://www.historictheatrephotos.com/). In 2023, Hume, Boychuk, and I visited fifteen theaters, both before and after the conference. Our travels brought us to historic venues in London, York, Glasgow, Bristol, Bath, and the Isle of Man. In the end, we documented fifteen theaters.

Wendy Waszut-Barrett, Rick Boychuk and Mike Hume at the Theatre Royal in Bath, 2023.

Hume and I planned a similar trip this year, but by car. Our plan was to drive from Newcastle-Upon-Tyne to Craig Y Nos, Wales. The primary focus was historic scenery collections.

Mike’s map for our proposed 2024 theatre tour.

When all was said and done, I visited:

Georgian Theatre Royal, Richmond

Victoria Hall, Settle

The Plaza, Stockport

Buxton Opera House

Chatsworth House Theatre

Theatre Royal, Nottingham

Nottingham Concert Hall

Nottingham Playhouse

Everyman Theatre, Cheltenham

Adelina Patti Theatre, Craig y Nos

Normansfield Theatre, London

Richmond Theatre, London

The Palladium, London

My next several posts will be about the design and painting of the ground rows, my distemper scene painting class at the Tyne, the scenic art conference, and the historic scenery at various venues. 

To be continued…