Month: October 2024

Copyright © 2024 by Wendy Waszut-Barrett

My return from the UK on August 12 was relatively uneventful – at first. Sadly, four days after my return I became quite sick – a sore throat quickly became a severe respiratory infection. Although I never tested positive for COVID, this particular illness confined to me to bed for over two weeks.

That is the reason why there was a flurry of posts about my UK trip mid-August. Researching a handful of English scenic artists and historic venues prevented me from worrying about all of the projects that needed to be completed by Sept. 12.

The initial delay had started well before my departure to the UK. In June, our basement flooded (water heater burst – destroying the flooring in our master bedroom, laundry room, and my research office). Thankfully, nothing of consequence was damaged. However, this unfortunate event caused a series of delays, each one falling like a Domino.

Despite the ongoing delays and my continued illness, I still had a show to finish in August, an annual family trip (Labor Day weekend), and a 31^st wedding anniversary (Sept. 11).

Thank God I paint fast. 

I only had one backdrop left for Tamerlano (Haymarket Opera Company, Chicago), but it was a complicated composition with lots of ornamental detail. As my illness dragged on, it became a guessing game of “Can I paint this drop in — days?”  In the end, it took me three partial days, and I felt horrible with each brush stroke. The only thing that would have made this worse is if I had been painting in the Continental method. Fortunately, I was using a motorized paint frame. That meant I could minimize my overall movement.

Here is a picture of the finished Tamerlano backdrop (front and back). It was painted with distemper paint (pigment paste and diluted hide glue), and designed to function as a translucency, so it could subtly “glow” upstage.

On Sept. 12, 2024, I drove to Chicago with a carload of scenery for Haymarket Opera Company’s fall production Tamerlano (George Frederic Handel, 1724). The production was scheduled to coincide with the 300^th anniversary of the premiere.

As noted on their website, Haymarket Opera Company takes its name from both Chicago’s Haymarket Affair of 1886 which gave focus to the world-wide labor movement, and from the King’s Theatre in the Haymarket District of London where Handel produced his Italian operas. Their website states, “Haymarket Opera Company contributes to the diverse and culturally vibrant artistic community of Chicago and the Midwest through the historically informed presentation of opera and oratorio from the 17th and 18th centuries, including many Chicago and U.S. premieres. Since its founding in 2010, Haymarket has offered more than 30 productions using period instruments and historically informed staging conventions, shining a spotlight on many lesser known but quality pieces by a wide diversity of composers, sung and played by a combination of international stars and top regional talent.”

My earliest conversations with Haymarket Opera Company in 2021 discussed the creation of a stock scenery collection. Our intent was to slowly build scenic stock, one show at a time. The scenic design for L’Amant anonyme (June 2022), established our stylistic approach and paint medium.

We agreed that all the shows would be painted with distemper paint (picgment paste and diluted hide glue), as it truly supports the metamorphic nature of painted illusion for the stage.

I have continued to enlarge Haymarket’s stock scenery collection over the past few years with classical settings for Poppea (September 2022) and Egyptian décor for Marc’antonio e cleopatra (June 2023).  Tamerlano (September 2024) combines elements from each production, while adding Eastern tapestries and an Eastern courtyard setting to the stock.

For example, painted ornament was added to six Poppea wings, functioning as a unifying element between the newly-painted Tamerlano draperies with previously-painted L’Amant anonyme tapestries. New elements for this production include a backdrop, top border, two side wings, two tormentor covers, and four rolling profile pieces.

Haymarket Opera Company uses the Sasha and Eugene Jarvis Opera Hall at DePaul University. This building was formerly known as the School of Music Concert Hall, located at the south end of the Holtschneider Performance Center. It was recently renovated, reopening during the pandemic in 2020. Bad timing, as stag-house issues really were not identified until well after the install, when pandemic-related restrictions were lifted.

The auditorium, however, is perfect. The 160-seat house creates an incredibly intimate space for Baroque opera.

The stagehouse is a very challenging space, and I constantly curse the theatre consultants. Scenery cannot travel out of site, the wings are less than 6’-0” wide, and every line-set is motorized.  There are only a few open lines. For substantial set changes, soft goods are rolled and tied to battens, then slowly lowered during intermissions

 All difficulties aside, the Jarvis Opera Hall is a stunning venue to visit and watch a production. Tamerlano opened on Thursday, Sept. 19 and closed on Sunday, Sept. 22. A short run, but each performance was sold-out, and the show was recorded.

As each Haymarket opera loads in easily, and without substantial notes, I have ample time to explore Chicago during the day. My adventures always include a dear friend – Chicago Lyric Opera charge artist, Brian Traynor. In the past we have visited cemeteries, history centers, and historic buildings.  Last year, Traynor introduced me to Bernard Loyd and we visited The Forum in Bronzeville (a neighborhood on the south-side of Chicago). On July 18, 2023, Brian Traynor sent me a photograph with the text, “Guess what I’m looking at.” It was a Sosman & Landis signature on the corner of a, 1897 drop curtain.

I examined the drop curtain in person on Sept. 28. 2023. CLICK HERE for my full post about out visit. Our visit last year was documented by Block Club Chicago journalist, Jamie Nesbitt Golden, and photographer Colin Boyle.  CLICK HERE to read her Block Club Chicago article. 

This scenery collection was also the topic for my article published in Die Vierte Wand #012, entitled, “A Forum for Progress.” CLICK HERE for the full issue.

Traynor and I returned to The Forum this year on Sept. 19, 2024. I was supervising the proper rolling and storage of the Forum’s scenery collection . This meant removing the hardware and battens, then rolling and encapsulating each scene.

For the first time, this process was documented by someone other than myself. Asia Taylor brought in her film crew in to document the project. Taylor previously produced and directed a short film that gives insight into the history of Forum Hall. CLICK HERE to watch her short film.

She is also one of the storytellers for Build Bronzeville. Build Bronzeville is comprised of five closely-linked initiatives that merge social, economic, civic, and creative approaches to achieve comprehensive community development. It is using the historic neighborhood’s unique assets to restore commercial activity and revitalize area through entrepreneurship, cuisine, exciting events, and beautification.  

Prior to Traynor’s departure, he passed along a gift from his mentor, Jim Maronek – scenic fitches once used by Thomas G. Moses (1856-1934) and a package labeled “Open at your own risk.”

My research and career has circled around Jim Maronek for over three decades. It was his stewardship of many Thomas Moses artifacts made so much of my research possible.

Maronek who retrieved several of Moses’ artifacts when the family home in Oak Park sold – including an electric theatre model that is now part of the Sosman & Landis Collection at the Harry Ransom Center, University of Texas – Austin.

I have visited the Oak Park home of Thomas and Ella Moses several times. I also make an annual trip to Graceland Cemetery where Sosman & Landis are buried. These moments really help energize my ongoing research.

In 2023, Traynor and I stopped by Moses’ Oak Park home to meet to the new owners; they had contacted me when the property changed hands. I first visited the home on July 19, 2019, on a return trip from the East Coast. CLICK HERE for the post about that visit. The new owners are now collecting Moses’ work. Here are two of Moses’ paintings again hanging in the Oak Park Home

There were two other items on my agenda for the Chicago trip – visits to the Newberry Library and the Palette & Chisel Club. It was not until the fall of 2023 that I realized that both were located less than three blocks south of my hotel.  While walking to the Newberry to pick up my reader’s card, I passed by the Palette & Chisel Club building. Amazingly the gates were open! A new exhibit with works of was on display.

I have written quite a bit about the Palette & Chisel Club over the years. Founded in 1895, the Palette & Chisel Club was an association of artists and craftsmen for the purpose of work and study. The organization’s members were reported to be “all wage-workers, busy during the week with pencil, brush or chisel, doing work to please other people” (Inland Printer, 1896). But on Sunday mornings, they assembled for five hours to paint for themselves.

Many Sosman & Landis scenic artists belonged to the club, including Thomas G. Moses who joined in 1906. That year, Moses wrote, “I joined the Palette and Chisel Club at the Chicago Society of Artists.  I don’t know why, as I had so little time to give to pictures, but I live in hopes of doing something someday, that is what I have lived on for years, Hope, and how little we realize from our dreams of hope.  As the years roll by, I think one’s whole life is one continuous dream, unless we are wonderfully gifted, and fame drops on us while we sleep.” In 1906 the Palette and Chisel Club, the group consisted of sixty local painters, illustrators, and sculptors. On Jan. 6, 1906, the Chicago Tribune reported, the Palette & Chisel was “primarily a working club, being the oldest organization in the west” (p. 2).

The year before Moses joined the Palette & Chisel, the members purchased a summer retreat near fox lake. Initially, artists and their families camped in tents. In 1907, Moses wrote, “June 1^st, I made my first trip to the Palette and Chisel Club camp at Fox Lake, Ill.  Helped to put up the tent.  A new experience for me, but I enjoyed it.  I slept well on a cot.  Made a few sketches.  A very interesting place.  I don’t like the cooking in the tent and there should be a floor in the tent.  I saw a great many improvements that could be made in the outfit and I started something very soon.”

The next year, Moses gifted a house to the group. In 1908 he wrote, “I bought the portable house that we built years ago and at that time we received $300.00 for it.  I finally got it for $50.00, some bargain.  It cost $25.00 to remove it and we will put it up at Fox Lake in the Spring.  It has been used in Forest Park all summer to show The Day in the Alps.”

In 1909, Moses painted a view of the new building. It was gifted to my by his great-grandson, Stu Nicholls, in 2017.

In 1906, the club maintained a permanent exhibition in the clubrooms on the seventh floor of the Athenæum building. The group moved to 1012 N. Dearborn Street in the 1921. In the 1920s Moses submitted several articles to the Palette & Chisel Club newsletter. His series “Stage Scenery” started in September 1927.

After entering the building, I wandered about the main floor, recognizing artworks by several familiar names. 

Then I followed the signs to the office in the basement. It was time to contact someone and share the information that I have gathered over the years.  The basement office had a lovely mural that documents the history of the Club.

By the end of the weekend, I met with the current president, Stuart Fullerton, and applied for membership. The Palette & Chisel Academy of Fine Arts is an amazing resource for both emerging and established artists. The membership benefits, even for those out-of-state like myself, are quite impressive. They are part of Open House Chicago on October 19, 2024 . If you are in the area, I strongly encourage you to stop by.

Upon my return to Minneapolis, I hit the ground running. Yesterday, I finished painting the scenery for my next Gilbert & Sullivan Very Light Opera Co. design – The McAdo (a Scottish Take on The Mikado). It opens on Nov. 1. 2024, and runs for four weekends. CLICK HERE to order tickets.

Here is a sneak peak of the scenery.

I am returning to work on my upcoming book series – Sosman & Landis: Shaping the Landscape of American Theatre.

Have a great fall!

Copyright © 2024 by Wendy Waszut-Barrett

My past few posts explored the scenery collection at Normansfield’s historic amusement hall. Built in 1879, scenic artists who painted scenery for the stage included Richard Douglass, John T. Bull, and N. Hinchey.

This post explores the life and career of Nicolas Charles Hinchey (1864-1919), a 19^th-century scenic artist who specialized in painted illusion and mechanical effects for scenic spectacles. Hinchey is credited with Normansfield’s extant street scene.

A replica of Hinchey’s work now graces the Normansfield Theatre stage, with Hinchey’s original painting in storage.  

I have yet to examine the Hinchey’s street scene roll drop, or his signature on the backside, in person. Therefore, I solely relying on information and images about the roll drop that were published in John Earl’s Dr. Langdon Down’s Normansfield Theatre and a paper by Karen Thompson and Frances Lennard, entitled Normansfield Theatre Scenery: Materials and Construction Revealed Through Conservation.

Thompson and Lennard’s paper, they state, “The scenic painter ‘N. HINCHEY, SOUTH LONDON, PALACE LONDON ROAD, SE’ signed his name and address in his own hand on the back of the ‘Street Scene’ backdrop. His name appears only on this piece. The flats are painted on both sides so cannot definitely be attributed to Hinchey, but it is probable that his firm painted them as similar stylistic features have been used in the buildings. A depiction of a street scene backdrop appears in the earliest published drawing of the theatre when it was first opened, indicating this was possibly one of the theatre’s earliest sets (Earl 2010: 2).” They cite the drawing on page 2 in Dr. Langdon Down’s Normansfield Theatre by John Earl, first published in 1997.

The street scene composition in the 1879 Illustration is different than the one listed in the Normansfield Theatre Scenery Catalogue, featured on the cover of Dr. Langdon Down’s Normansfield Theatre.

I am skeptical that the 1879 illustration for the opening of Normansfield featured the work of a 15-yrs.-old scenic artist assistant. Previously, Normansfield theatrical entertainments credited John T. Bull with scenic contributions. Bull was the extremely well-known and well-respected scenic artist by the 1860s. Hinchey’s name did not make the news until 1882. That year,18-yrs.-old Hinchey assisted Richard Douglass and John Neville. Furthermore, Hinchey was not associated with the South London Palace Theatre until the fall of 1888.  Therefore, his signature on the back of the drop indicates that is was produced sometime after the fall of 1888. In fact, in 1893 Hinchey painted scenery for a pantomime at Normansfield. 

I am going to start with the actual design attributed to Hinchey at Normansfield before exploring the life and career of the artist. Many 19^th century stock scenery collections contained two types of street scene compositions, termed “Ancient” and “Modern.”  “Ancient Street Scenes” depicted the old world, a village square or street that could be the backdrop for plays dating from the time of Shakespeare. “Modern Street Scenes” were used for contemporary dramas and comedies, set in the 19^th century.

The street scene pictured in the 1879 illustration reminded me of the street scene delivered to the Tabor Opera House in Leadville, Colorado, that same year.  The only difference is that the Tabor Opera House street composition was painted on two shutters instead of a roll drop.

I have pieced together bits of information from historic records and newspaper reports to tell the tale Hinchey’s life and career. This one took a far longer than I expected, hence the delay. Many difficulties stemmed from multiple men with the same name. This always means that I must track a variety of individuals before identifying the correct family and region.

Amazingly, there were three men named Nicholas Hinchey in the same family, all living in London:

Nicholas Hinchey I (1831-1910), father, musician and shoemaker

Nicholas Hinchey II (1864-1919), his son, a scenic artist

Nicholas Hinchey III (1890-?), his grandson, a scenic artist

In newspaper reports and historic records, Hinchey was also misspelled as “Hinchley.” For example, and advertisement for The Indian Mutiny, published in Chatham’s Medway News on Dec. 26, 1891, noted “New scenery and Original Effects by Mr. N. Hinchley and Henry Adolphus Payne” (p. 1). This always makes research a challenge. However, in addition to human error, there are additional problems that I encounter with transcription software. As I have noted in the past, various letters are not always transcribed as such. For example, “h” will become “li.” “S” will become “5.” So, the word “Shy” may be read by the software “5liy.”

When doing any research, I intentionally employ misspellings and a combination pf software errors. While searching for articles about Hinchey, I used “lincliey” [hinchey]. Despite these additional steps, it still beats the alternative of slowly scrolling through old newspapers – page by page.  There is no way that I could piece together the lives and careers of scenic artists – especially those working outside of my US State – if I were solely relying on original sources in archives and rare book rooms.

Here is the tale of scenic artist, Nicholas Hinchey….

Born in 1864, Nicolas Charles Hinchey (II) was the son of Nicholas Hinchey (III) and Margaret Catherine Hinchey (1834-1910). He grew up in a whirlwind of music, as he was from a musically-gifted family. Both father and paternal grandfather (Walter William Hinchey, 1803-1870) were musicians, as were his two uncles, William Jr. and Walter Hinchey.

Nicholas (II) was one of five Hinchey children born to Nicholas (I) and Margaret Hinchey: Margaret Kate Hinchey (1862-1946), Catherine “Kate” M. Hinchey (1866-1940), Nicholas Hinchey (1864-1919), Walter Hinchey (1868-1947), and Charles Henry Hinchey (1872-1949).

By1870, the Hinchey family moved to Shoreditch. Here is a map of the three primary locations where scenic artist Nicholas Hinchey (II) lived and worked – Shoreditch, Bethnal Green, Hackney, and Tower Heights.

The 1871 Census listed Nicholas Hinchey (I) as head of household and a Professor of Music. This was the same year that smallpox plagued the Shoreditch community. Sometime between 1871 and 1881 the Hinchey family moved from Shoreditch to Bethnal Green. This was not a great distance, only a 38-minute walk.

In 1881, the Hinchey household was located at 20 St. James Road in Bethnal Green, London. Nicholas Hinchey (I) was listed as a “sole-sewer” in the shoe trade. The Hinchey family was living in a trade neighborhood, home to dozens of shoe and boot manufacturers. Hinchey’s younger brothers, Walter and Charles Henry, also began in the shoe and boot manufacturing trade. However, in 1881, they were simply listed as “scholars,” ages 11 and 8. Interestingly, nothing is listed for Nicholas Hinchey (II) in the 1881 census report.

“N. Hinchey” was already working as a scenic artist in 1881. On Jan. 1, 1882, he was credited with the scenery for a Christmas pantomime, working alongside Richard Douglass and John Neville at the National Standard Theatre, Shoreditch. At the time, he was 18 yrs. old. The fact that Nicholas Hinchey was mentioned by name, alongside two other well-known scenic artists, suggests that he significantly contributed to the scenic portion of the show.  If he were merely working as an assistant, the article would have only listed the names of Douglass and Neville, or “Douglass, Neville and assistant.” Based on standard practices of the 19^th century scenic art trade, aspiring artists began training between the ages of 12 and 16. Hinchey was likely training as a scenic artist in 1878, possibly at the Standard Theatre in Shoreditch.

On Jan. 1, 1882, The Sunday People credited scenic artists R. Douglas, J. Neville and N. Hinchey with the scenery for Sinbad the Sailor at the Standard Theatre (p. 7). Richard Douglass was the subject of yesterday’s post, as he also painted scenery for the Normansfield Theatre. Richard’s brother, John Douglass, was the author of the pantomime. Of the production, the article reported, “The scene of the pantomime proper opens with a representation of a seaside village, where Sinbad being refused the hand of Polly, resolves to go to sea. The spectator next sees the cabin of the Lively Polly, where the threads of the story are again taken up. Gun drill is gone through and a grand nautical ballet, in which every nationality is represented, is indulged in, to the delight of the audience. The vessel strikes on the Loadstone Rock, and founders; but the hero and his friends are rescued by a steamer in a scene which alone will render this pantomime popular. The vessel not only glides easily and gracefully on to the stage but turns completely round and goes off again. Some capital business and fooling take place on the Tum Tum Islands, where the East-enders will derive some curious information with reference to marriage laws and customs. To this success an interesting panorama, and scenes representing the Valley of Jewels (in which is termed a ‘prismatic ballet’ takes place, the dresses of the dancers creating a fine. Affect), and Eastern slave mart, &c., leading up to the transformation scene, which is termed a Vision of the Intense and Realms of the Utterly Utter, a really splendid scene deserving a better tile. The scenery throughout is all that could be wished…”

Hinchey continued to work in the area and began to make a name for himself at three music halls by the mid-1880s. He became associated with the Parthenon Theatre of Varieties, (Greenwich), the Canterbury Theatre (Lambeth), the Paragon Theatre (Mile End). Charles Crowder and George Adney Payne were the Proprietors of several music halls that included the Paragon Theatre of Varieties  and Canterbury Theatre of Varieties (The Era 25 Dec 1886, p. 13).

With relatively stable employment, Hinchey was able to wed. On Dec. 1, 1884, Nicholas Hinchey married Susannah Skaggs Burns (1863-1918) at Holy Trinity, Dalston, Beechwood Road, in Hackney. Hinchey was listed as a scenic artist, living at 192 Victoria Park Road in South Hackney, whereas Burns was living at 63 Holly Street. The couple celebrated the birth of two sons: Nicholas Charles Hinchey (1886) and Horace Arthur Hinchey (1890).

The Paragon Theatre of Varieties opened in May 1885, coinciding with Hinchey’s listing as a resident artist for the venue. Amazingly I located two Paragon Theatre programs that listed Hinchey as the resident scenic artist. This places Hinchey as the scenic artist there from 1885 to 1887.

Here are a few articles that note Hinchey’s association with Crowder and Payne’s two music halls during this time:

Parthenon Theatre of Varieties:

On Sept. 5, 1885, The Era listed N. Hinchey as the scenic artist for The Naughty Dustman at the Parthenon Theatre of Varieties, Stockwell-street, Greenwich. At the time, A. A. Hurley was the sole proprietor and manager, with A. R. Hurley as the acting manager.

Canterbury Theatre of Varieties:

On Nov. 21, 1885, The Era announced that a “new palatial Interior” was painted expressly for the occasion by N. Hinchey” to celebrate the third anniversary of the proprietorship of Messrs. Crowder and Payne at the Canterbury. (p. 10)

In 1886, Hinchey was still painting for The Canterbury. On Jan. 2, 1886, The Era mentioned Hinchey’s scenic art in an entertainment called Twenty Minutes with the Ancients, with twenty classically draped and classically posed ladies “in a beautiful painted scene, ‘Old Roman Ruins,’ which reflects the highest credit on the skill of the artist, Mr. N. Hinchey” (p. 10).

Other Canterbury Theatre of Varieties show with scenery painted by Hinchey in 1886 include The Devil Bird (The Standard, 30 Aug 1886, p. 1) and Across the Pond (The Standard, 20 Oct 1886, p. 1). Across the Pond was advertised as an “Absurdity with Magnificent scenery by Mr. N. Hinchey. The Castle Garden by Moonlight, the Arrival of the Steam Ship Grecian Monarch.”

In 1886, Nicholas and Susannah celebrated the birth of their first son, Nicholas Charles Hinchey (III).

I am going to pause for a moment and look at the 1880s Music Halls where Hinchey was working, especially those managed by Crowder and Payne. They were quite controversial and a target by clergy. A leaflet, entitled This Way to the Pit of Hell, was written by Frederick Nicholas Charrington of the Tower Hamlet and handed out in front of Lusby’s Music Hall in London’s Mile End Road. Charrington’s unwanted activities Payne to throw bucket of red ochre on Charrington. This was likely a pot of distemper paint, mixed by his scenic. The controversy continued over the years, and in 1885, Crowder and Payne brought Charrington to court, alleging that his activities constituted a public nuisance and were slanderous. There is a very interesting article by Bob Davenport, entitled George Adney Payne: Music-hall guv-nor that describes the event.

Despite continued controversary at Hinchey’s various places of employment, he continued to gain popularity for his scenic art. 1887 was an especially busy year as he repeatedly painting of scenes for a series of sketches that featured the Leopolds.

Here are a few articles that mention about Hinchey’s work in 1887 and 1888, before he became associated with the South London Palace Theatre:

On Jan. 15, 1887, The Era reported that the Leopolds’ The Terrible Boys sketch included “new scenery by N. Hinchey, Tennyson and O’Gorman” (p. 12). The sketch was still being performed that fall. On Oct.1, 1887, The Era mentioned Hinchey’s scenery at The Paragon in the Leopold Troupe’s The Terrible Boys (p. 10): “The scene in which the wild revels take place is prettily painted by Mr. Hinchey and serves the purpose admirably.”

On Feb. 26, 1887, The Era reported that the Leopolds’ Claud sketch featured “new scenery by N. Hinchey (p. 12).

On March 5, 1887, The Era reported, “The new scenery, which has been supplied by N. Hinchey, says much for the artistic ability if that gentleman” (p. 9).

On April 9, 1887, The Era reported the eccentric sketch of The Magic Flute supported by the pantomime troupe with “new scenery by N. Hinchey” for the Easter Holidays (p. 12).

On Oct. 29, 1887, The Era published an advertisement for the Paragon Theatre of Varieties for “A Nautical Musical Sketch The Seaside Holiday introducing Harry White, Elsie Phyllis &c. New scenery by N. Hinchey” (p. 12).

On Jan. 14, 1888, The Era described Hinchey’s scenic contributions for the Naughty Jack sketch, reporting, “Special praise is due to Mr. N. Hinchey’s capital scenery, Considering the brevity of the sketch, the elaborate and complete  mise-en-scène, the artistic execution, and the tasteful and ingenious lighting of the two stage pictures, notably the street scene which is last exhibited, are surprisingly good; and the mechanical change from the interior of the prison works with delightful smoothness” (p. 15).

One of his last productions at the Paragon was during the summer of 1888. On June 28, 1888, an advertisement in The Era for On Guard featured “New Scenery by N. Hinchey” (p. 1). On July 3, 1888, The Standard listed Hinchey’s scenes – Scene 1. England in Danger; “On Guard” before Sebastool. Scene 2, England’s Reward; The Workhouse of Death; Country Churchyard in Winter” (p. 1).

Hinchey established his own painting rooms at Cannon-place, Mile-end-road. This address appeared in The Era advertisements in the fall of 1888. On Sept 15 and 29, 1888, Hinchey published an advertisement in The Era (p. 3). It stated, “Mr. Nicholas Hinchey, Scenic Artist, late of Canterbury and Paragon Theatres, by permission of Mr. William Lusby, is now prepared to accept Contracts, Large or Small, Theatres, Music Halls, and Amateurs, stocked with Scenery of every description. Small. Stages built and fitted with every appliance. Address, Nicholas Hinchey, Royal Foresters’, Cambridge-road, Mile-end, E., London; or Painting Room, Cannon-place, Mile-end-road.”

On Sept. 22, 1888, The Era listed Nicholas Hinchey as “Resident Scenic Artist” at Royal Foresters’ Palace of Varieties, Cambridge-Road, Mile-End, with William Lusby as the proprietor.

Hinchey was also painting scenery for other venues too. For example, on Nov. 5, 1888, The Era reported “Six splendid scenes from the brush of the young and talented N. Hinchey” for the Belmont’s New Sebright Amusement Temple, Hackney-Road” (p. 12). The article about the inaugural opening listed “Mrs. J. J. Poole, South London Music Hall,” as one of the “distinguished patrons.” Hinchey was later credited with scenery for Danger on the Line at the New Sebright Amusement Temple. On Feb. 2, 1889, The Era noted, “special scenery and limelight effects by N. Hinchey, Esq.” (p. 14).

On April 20, 1889, The Era reported, “Belmont’s New Sebright is the brightest Star Show in the whole universe. Each week beaming a Copious Catalogue of New and Novel Acts, with Scenes of Sumptuous Splendor from the brush of N. Hinchey, and Satisfactorily Set and Struck by a very Smart Small-Soda Swallowing Stage Steersman, one Hickman, whose initials are C. D. (not Seedy)” (p. 12).

Hinchey was also associated with the South London Palace of Varieties in Lambeth that fall. On Sept. 8, 1888, The Era reported, “New scenery by N. Hinchey” for a new sketch Danger’s Call at the South London Palace, d-road, S. E. – Proprietress Mrs. J. J. Poole” (p. 12). Mrs. J. J. Poole assumed management of the theatre after her husband’s passing in 1882. Hinchey also painted scenery for Sloperius that summer. He was credited in an article published in The Sunday People on June 16, 1889 (p. 8).

In 1888, Hinchey began working with Joseph Soames. The two painted scenery for the Surrey Theatre’s Christmas Pantomime, Dick Whittington and His Cat. On Dec. 28, 1889, The Era reported, “A brief sketch of the spectacular effects of the pantomime must here suffice. The second scene, East Chepe in the Olden Time, is an elaborate and artistic set; and the view from Highgate Hill (scene four) created an undeniable call, which had to be answered by the smiling appearance of Mr. George Conquest. While Dick sleeps, he is supposed to be treated by the fairies to a dream of delight, in which he fancies himself in a pleasurance inhabited by elves representing butterflies and insects and carrying garlands of beautiful flowers. In the London Dock scene, a “practicable” vessel sailed from the quay, the eight scene, representing a tropical forest, reflects as does all the scenery, great credit upon Messrs. J. Soames, N. Hinchey and their assistants” (p. 8). Joseph Soames (1847-1918) was another link between Hinchey and Richard Douglass. In 1886, Soames painted scenery with Douglass, G. Blake and assistants for Jack and the Beanstalk at the Standard Theatre (The Era 21 Dec 1886, p. 4).

Born in Stepney, London, Joseph Soames was already working as a scenic artist in the 1860s. He was listed as such in the 1871 Census report.  That year, Soames was credited with the “Magnificent Champion Transformation Scene” for Dick Whittington and His Cat; or, Discord, War, Famine, and Harlequin Peace, Good Humour, and Plenty at the Garrick Theatre, Leman-street, Whitechapel (The Era 1 Jan 1871, p. 12). At the time, his work was featured alongside that of G. A. Baxter, Mr. Burris and W. Campbell (assistant). In 1889, Soames advertised as “the Acme of Scenic Effect” (The Era 28 Sept 1889, p. 12).

Over the years, he continued his association with the Surrey Theatre, passing along his skills to his youngest son, Alfred James Soames (1884-1920). The 1901 Census listed Alfred as a 16-yrs.-old apprentice to Joseph Soames in Seaford, Sussex.

In 1892, Hinchey was still painting with Soames. On Dec. 31, 1892, The Era credited Hinchey, J. Soames, and C. Williams with scenery for Puss in Boots at the Surrey Theatre, reporting “Messrs. Soames, Hinchey, and Williams have painted some very effective scenes” (p. 8). On Jan 1, 1893, The Era heralded their scenic contributions, especially the transformation scene, entitled The Home of Coralina. The Era article reported, “The scenes representing a mill and village inn, a weird glen, a wood and lake, a prison, the wonderful house built by the Jack introduced into the story, a golden palace, and ogre’s stronghold, and the transformation scene called “The Home of Coralina,” are highly credible to the artists, Messrs. J. Soames, N. Hinchey, and C. Williams, while their attractions are enhanced by the clever property, mechanical, and illuminating effects introduced into them by Messrs. T. and H. Major, F. Gaydon, and W. Dines.” I have yet to track down the scenic art career or C. Williams; more later is I uncover something.

Despite accepting a variety of other projects throughout the region, Hinchey maintained a close association with the South London Palace. Here are a few productions mentioned in newspapers between 1890 and 1895:  

Conn, an Irish sketch in four scenes for the Easter Holidays, with “scenery and new effects by N. Hinchey” (Lloyd’s Weekly Newspaper April 6, 1890, p. 6)

Balaclava, a “sensational military monologue” with “splendid scenery by N. Hinchey (The Era Aug. 8, 1891, p. 12).

Night Alarm featuring “new scenery by N. Hinchey,” (The Era 5 Sept. 1891 p 12.)

Mepho; or, Faust After Date with “new scenery by N. Hinchey, Lime effects by J. Jarrat; Machinist, A. Kennard” (The Era Oct. 24, 1891, p. 14).

A Terrible Night, Paul Martinetti’s pantomime“with special new scenery and effects by N. Hinchey” (Lloyd’s Weekly Newspaper, p. 8).

The Sights of London (Mr. Charles Godfrey in a series of new songs) with special new scenery and special effects by N. Hinchey (The Sunday People 7 Feb 1891 p. 8)

Robert Macaire “with new and beautiful scenery by N. Hinchey” (The Era 20 Feb 1892, p. 14)

The Squire of Haslemere (by Vento, the modern ventriloquist)“with Scenery by N. Hinchey, Esq. (The Era 2 Apr 1892 p 26)

The Harvest of Sin, in five tableaux, with “scenery and special effects by N Hinchey” (The Sunday People 10 Jul 1892 p. 8)

Inkerman (starring Charles Godfrey) with scenery “specially sketched and painted by N. Hinchey for the South London Palace,” representing No. 11 Ward in Chelsea Hospital (The Era 30 Jul 1892 p. 12)

Adventures on a Houseboat with “scenery by N. Hinchey” (Sunday Dispatch 25 Sept 1892 p. 8)

The Tower Bridge (R. Gurney Sketch Company) with “Scenery by N. Hinchey” (The Era 2 March 1895, p. 26)

In 1890, the Hincheys celebrated the birth of another child, Horace Arthur Hinchey. Horace was born in Whitechapel, Tower Hamlets, on April 18, 1890. His birth was listed in the Civil Registration Index for the second quarter of that year.

That year, the Hinchey also painted scenery for the Hull Christmas Pantomime. On Dec. 24, 1890, the Hull Daily Mail included an article about Little Red Riding Hood  at the Theatre Royal on Boxing Night: “We have reason for stating that the scenery, which has been painted by Messrs. Jules Camus and N. Hinchey, is most elaborate in character” (p. 3); On Jan. 3, 1891, The Era  reported, “The tale, which is on the old familiar lines, is depicted in eleven scenes, designed and painted by Jule Camus and N. Hinchey” (p. 18). Hinchey returned to the next year. On Jan 2, 1892, The Era listed Jules Camus and N. Hinchey as the scenic artists for the Christmas pantomime Robinson Crusoe (p. 19).

In 1891, the Census listed Nicholas Hinchey as a scenic artist and sculptor, living with his family at 5 Cannon Place in Whitechapel, London. Members of his household included 28-yrs.-old wife Susannah and two sons, Nicholas C. (5 yrs.) and Horace A. (1 yrs.).

On Oct. 3, 1891, The Era described a new entertainment at The Foresters’, reporting, “Mr. William Lusby’s old-established and well-patronized theatre of varieties in the Cambridge-road, Mile-end… The Yard Arm…“The scenery, for which N. Hinchey is responsible, gave every satisfaction” (p. 16).

A week later, Hinchey’s scenic art was mentioned in a newspaper advertisement that described a new stage effect. On Oct. 8, 1892, The Era published an advertisement for the “Ubiquitous M. George Lupino.” It reported, “Nineteenth week as Leporella, Don Juan’s Servant, Alhambra Theatre. South London Palace as the SEA MONSTER. Come, see, mark, learn, copy. The most Realistic Ship ever produced on any stage in Europe. See how a Practical Picturesque Mechanical Trap scene should be made and used. Modeled and designed by a Pantomimist who understands Geometry, Scale, and Perspective. A Hint to those Great Little People who Talk about Inventing and Designing, and yet cannot sketch at all. Painted by N. Hinchey, Built by R. Wilkinson. I George Lupino, claim the above as original in construction from end to end, and challenge inspection and contradiction. Agent, Warner” (p. 26).

Hinchey’s reputation was continuing to spread throughout the region.

In 1892, Hinchey delivered scenery to the Normansfield Amusement Hall. On Jan. 7, 1893, The Era announced “The Genesta A. D. C. On Thursday evening at Normansfield, Hampton Wick, the members of this amateur dramatic club performed for the first time, an original ‘nautical pantomime,’ entitled Y’lang Y’lang, the Fair Maid of Too-Bloo…The libretto and lyrics were written by Mr. G. Manchester Cohen, the music composed by Mr. John W. Ivimey, and the pantomime arranged and produced by Mr. Peter Davay…This production of a Christmas piece. With its elaborate scenery and costly dresses. Was a bold undertaking for amateurs, and they are to be congratulated upon the undoubted success which attended the performance…The scenery painted by Mr. N. Hinchey, was admirable, and the dresses and properties all that could be wished for” (p. 9). It is possible that this was the same year that Hinchey painted and signed the street scene for the Normansfield Theatre.

It was about this same time that newspapers start mention the scenic art firm of “N. Hinchey & Co.” A name that appeared for only a year. On Jan. 14, 1893, The Ear published an advertisement for the touring production of The Indian Mutiny, noting “Magnificent scenery for every Act by N. Hinchey and Co.” (p. 4). On Feb 17, 1894, The Era published an advertisement for A Military Blunder with “special scenery and effects by N. Hinchey & Co. (p. 27).

On May 19, 1894, The Era published an advertisement for The Two Hussars featuring Mr. Harry Bruce’s Company, with “Four sets of Magnificent Scenery (by N. Hinchey) carried, portraying Balaclava, Sebastopol, and Environs” (p. 4). On March 26, 1898, The Era reported, “The success of the visit has been through and complete; and the attraction of The Two Hussars seems as strong and steady as ever. Especially stimulating have proved to be the scenes in the second act, including views of the battle plains and the French and Russian camps, the blowing up of the bridge, military quarters in the Crimea, the Valley of Death, and the Charge of the Light Brigade, in which Trooper Holland, No. 1,543, D. Troop, 11^th Hussars, one of the actual survivors of the “six hundred” in the celebrated exploit, appears each evening. For these, for the correct view of the town and harbour of Balaclava, and for the whole effects, Mr. N. Hinchey, the scenic artist, deserves warm praise, while the superintendence of Mr. Harry Bruce has given smoothness and completeness to the production” (p. 10).

On August 22, 1896, The Era listed that new scenery for The Indian Mutiny was traveling with new scenery “painted from photographs by Nicholas Hinchey, Lionel Hart, and Richard Douglass, and the picture of the Ruined Mosque on the Mountain Pass, with its warm glow and cleverly suggested architectural detail, may be picked out as one of the remarkable examples of stage brush work” (p. 9).

By 1897, public mention of Hinchey as a scenic artist became less frequent.

On Aug 4, 1900, The Era published an advertisement for The Mariners of England; or, the Days of Nelson, reporting, “The Stirring Patriotic Olympic Success, now in the Third Year of Tour. Emphatic Success this week at Southend, New Plant of Scenery being prepared by Mr. Nicholas Hinchey” (p. 20).

I was able to locate only a handful of articles about painting projects for N. Hinchey from this point forward.

On Jan. 22, 1901, Coventry Evening Telegraph published an article about the Pantomime at the Opera House describing Wilfred Cotton and Le Butt’s version of Babes in the Wood, incorporated with incidents from Who Killed Cock Robin? (p. 2), with scenery by Messrs. G. Miller and N. Hinchey. In 1901, Hinchey was visiting at 42 Drewton St, Bradford West, Yorkshire. He was listed as a visitor and theatrical scenic artist. Other “visitors” included actor George Croft, Theatrical Property Manager Ralph Rawle, Theatrical carpenter Frank Smith, and many others. It appears that he was traveling with a company at the time.

On Jan. 11, 1902, the Folkstone Herald mentioned Hinchey’s scenic contributions to the touring production of Beauty and the Beast from the Royal County Theatre, Kingston-on-Thames. The article reported, “The graceful old fairytale is set out with commendable skill and clarity and presented in tableaux of singular charm and beauty by a company remarkable for genuine dramatic ability. The scenery is by such well-known artists as T. Miller, Walter Hann, Nicholas Hinchey, George Miller, etc.” (p. 12).

The first few years of the twentieth century prompted change in the Hinchey home, possibly caused by Susannah Hinchey’s poor health. Something happened, and I have yet to figure out the specifics. However, in 1906, Hinchey’s wife became destitute and was transferred from one poorhouse to another. On a few years earlier, their youngest son, was enrolled in boarding school.

Horace A. Hinchey was admitted into the Olga Street School in Tower Hamlets, Bethnal Green, dated February 24, 1902.  Records list that H. A. Hinchey was born on April 18, 1890, and that his father was Nicholas Hinchey (Scenic Artist). Hinchey’s previous school was located on Chrisenhale Rd. Furthermore, Hinchey’s residence was listed as 16 McThurst Rd. Olga Street Board School was established in 1874, with a student body of 649 children (324 boys, 325 girls) and 418 infants. The school was enlarged in 1881 to accommodate approximately 1,500 children, with further improvements made in 1898.

By the summer of 1906, Susannah Hinchey was placed at the poorhouse in Polar. She is listed in London’s Selected Poor Law Removal and Settlement records, dated June 2, 1906. Now, I was unfamiliar with this type of law and settlement. The Poor Law was a system that grouped parishes into unions, each with its own workhouse, to reduce the cost of caring for the poor.

Susannah Hinchey’s orders of removal to the Guardians of the Poor of Poplar, Poor Law Union, in the County of London, reported, “That Susannah Hinchey is the wife of Nicholas Hinchey. That prior to August 1900 the said Nicholas Hinchey resided for a term of three years at 59 Venue Street, 29 Nairn Street and Elsewhere in the Parish of Bromely St. Leonard and in the Popular Union, in such a manner, and under such circumstances, in each of such years, as would in accordance with the several statutes in that behalf, render him irremovable therefrom and settled therein.” Her record stated, “Susannah Hinchey, aged 43 years has come to inhabit and is now inhabiting in the said Parish of St, Matthew, Bethnal Green, not having gained a legal Settlement therein, nor produced  a Certificate acknowledging a Settlement elsewhere, nor being exempt from removal by any provision of the Law, and that she is now actually chargeable to the said Parish, and is now receiving relief therefrom, and that Parish of Bromeley St. Leonard in the Poplar Poor Law Union in the County of London is the place of her last legal Settlement. I, the said the Magistrate, upon the due proof thereof, as well as by examination of a Witness upon oath and upon due consideration of the premises, do adjudge the complaint to be true, and that such relief is made necessary by the sickness of the said Susannah Hinchey which sickness I am satisfied will produce in her permanent disability; and that the place of last legal Settlement of the said Susannah Hinchey is in the Parish of Bromley St. Leonard which is comprised in your said Union. These are therefore in His Majesty’s name to require and order you, said Guardians of the Poor of the said Parish of St. Matthew, Bethnal Green, or some or one of you, or some proper person of persona to be employed by you, at such time, and in such manner as by law is provided and directed in that behalf, to remove and convey the said Susannah Hinchey from and out of your said Parish to the said Poplar Poor Law Union, and her to deliver, together with this Order, or a duplicate, or a true copy hereof at the Workhouse, or unto the Guardians of the Poor there, or one of them, who are or is hereby required to receive and provide for her according to Law.”

I have yet to locate Susannah’s departure from Poplar, yet the 1911 census listed her residence in Hackney.  This was only one year after her father-in-law’s passing.

On Dec. 22, 1910, Nicholas Hinchey (I) passed away and was buried at Chingford Mount Cemetery. Chingford is in the London Borough of Waltham Forest. The gravestone states, “Loving Memory of Nicholas Hinchey who passed away December 22^nd, 1910, Aged 79 Years. Lord All Pitying, Jesu Blest: Grant Him Thine Eternal Rest.”  The grave also contains the remains of his son, Nicholas Hinchey (II), and Daughter Margaret Le Croissette.

The 1911 Census listed Susanna living at 2 Frampton Park Road in Southeast Hackney. Her son, scenic artist Nicholas Charles Hinchey (III), lived with her. This means that by 1911, scenic art projects credited to N. Hinchey may be the work of Nicholas Hinchey (II) and Nicholas Hinchey (III).

In 1914, 28-yrs.-old “scene-painter,” Nicholas Charles Hinchey (III) married 21-yrs.old Annie “Elizabeth” Elizabeth was the daughter of John Charles Willis, who worked as a groom. The couple was married at the Parish Church of at Saint Alban in Streatham Park (Lambeth) in the county of Surrey.

Willis was the daughter of John C. and Mary E. Willis, of Wandsworth. At the time, both listed their residence as 105 Eardley Road (this was very unusual). Their marriage was witnessed by Susannah Hinchey and Charles Phillip Chamberlaine, and registered in Wandsworth, London. Because this event occurred between census reports, I have yet to locate Susannah’s address at this time, or any mention of Nicholas Hinchey (II).

The same year that his son was married, “N. Hinchey” was credited with scenic work at the Palace Theatre in Glasgow. On August 4, 1914, Glasgow’s Daily Record reported that the Palace Theatre was “Redecorated with Entirely New Scenery and Lighting Effects Designed and Painted by Mr. N. Hinchey” (p. 4). I am unsure whether this was the work of father or son.

There were only a few more mentions of scenic art by N. Hinchey during the war years. On May 12, 1918. The Stirling Observer (Stirling, Scotland) reported that N. Hinchey painted scenery for Cheer-O!  at the Olympia. On August 28, 1918, The Perthshire Advertiser published an article about the new spectacular spy play, Carry on at Perth Theatre (p. 3). Special scenery was by N. Hinchey.

Nicholas Hinchey (II) passed away on Dec. 18, 1919, at the age of 55 years. He was buried at Chingford Mount Cemetery with his father, Nicholas Hinchey (I) in 1919. He passed away at St. Marks Hospital City Road.

To be continued…